Yale University.Calendar.Directories.

Courses of Instruction

Key to course list A schedule of the hours and places at which various classes are to meet will be posted online at www.yale.edu/oci.

Courses designated “a” meet in the fall term only.

Courses designated “b” meet in the spring term only.

Courses designated “a,b” are offered in both the fall and spring terms.

Courses designated “a–b” are yearlong courses. Credit for these courses is granted only after completion of two terms of work.

Courses designated NP are nonperformance courses.

Courses designated P/F will be graded on a Pass/Fail basis.

Courses designated Group A, B, or C qualify as distribution requirements in these groups.

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Musicianship and Theory

MUS 501a–b, Introductory Hearing and Analysis 2 credits in the fall; 4 credits in the spring. Group A. See MUS 502a, 503a, for description. Both sections must be completed to fulfill the degree requirement. Does not count as a nonperformance elective. Enrollment by placement exam. Richard Gard

MUS 502a, 503b, Hearing and Analysis 4 credits. Group A. This course develops aural and analytic skills through the exploration of a variety of musical styles, with and without score. The overall goal is to hear and articulate the effect of compositional choices and then to directly connect this understanding to performance. A short, significant composition is a requirement, and these compositions are performed. One of the sections is a degree requirement. Does not count as a nonperformance elective. Enrollment by placement exam. Richard Gard

MUS 610a–b, 710a–b, Score Reading and Analysis 4 credits per term. NP. Group A. An examination of repertoire from the eighteenth, nineteenth, and twentieth centuries. Appropriate analytic points of view are used to discover inherent stylistic similarities and differences in orchestration and texture. Class work includes a substantial term paper, as well as playing scores at the piano. Permission of the instructor required; enrollment limited to eight. William Boughton

MUS 658a/MUSI 319a, Twentieth-Century Music: Ear Training and Analysis 4 credits. NP. Group A. This course attempts to develop students’ ability to recognize and generate structures and processes particular to music of the twentieth century and to apply them in analysis of short pieces. The course makes use of musical examples by Schoenberg, Bartók, Debussy, Stravinsky, Webern, and others. Reading, singing, memorizing, and manipulation of these excerpts are among the course’s central activities, which also include singing (and playing), dictation, identification, improvisation, and, above all, recognition. Enrollment limited to fifteen. This class follows the Yale College academic calendar: it begins on August 31 and observes the October break. YSM students may take the class with permission even if they miss one or two of the initial classes. Michael Friedmann

MUS 688b, Eighteenth-Century Counterpoint 4 credits. NP. Group A. Students learn eighteenth-century counterpoint through intensive study of selected works mainly by J.S. Bach and through weekly composition assignments. The goal is to become proficient with the techniques of contrapuntal composition in an eighteenth-century style. We begin the term by considering historical context and becoming conversant with two-voice counterpoint in a modified species approach. We move from there through three-voice composition, branching out from a species-type approach and becoming familiar with various musical forms and genres of the time. Prerequisite: open only to students who have taken, passed out of, or are currently enrolled in MUS 502a or 503a. Hannah Lash

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Performance

MUS 515a,b, Improvisation at the Organ I 2 credits. This course in beginning organ improvisation explores a variety of harmonization techniques, with a strong focus on formal structure (binary and ternary forms, rondo, song form). Classes typically are made up of two students, for a one-hour lesson on Mondays. The term culminates with an improvised recital, open to the public. In this recital, each student improvises for up to seven minutes on a submitted theme. Jeffrey Brillhart

MUS 529a, Introduction to Conducting 4 credits. A study of the art of conducting through analysis of scores, baton technique, and orchestration. Assignments include weekly conducting exercises, study of repertoire, quizzes, and a final examination. The ability to read scores and transpose is assumed. Permission of the instructor required; enrollment limited. Toshiyuki Shimada

MUS 530b, Intermediate Conducting 4 credits. Continuation of the techniques utilized in Conducting 529a. More difficult orchestral pieces are analyzed and conducted, and score reading at the piano is stressed. A playing ensemble is made up of participants in the class. Some piano playing skills required. Prerequisite: MUS 529a; thorough knowledge of theory and analysis. Permission of the instructor required. Enrollment limited to eight, determined by audition. Toshiyuki Shimada

MUS 531a–b, 631a–b, Repertory Chorus—Voice 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, Repertory Chorus—Conducting 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 533a–b, 633a–b, Seminar in Piano Literature and Interpretation 4 credits per term. For piano majors. Piano faculty and guests

MUS 534b, Collaborative Piano: Instrumental 2 credits. A course for piano majors, intended to broaden their experience and to provide them with the skills necessary to prepare sonatas and accompaniments. A number of selected instrumental sonatas are covered, as well as the problems involved in dealing with orchestral reductions and piano parts to virtuoso pieces. Sight reading and difficulties related to performing with specific instruments are also addressed. Students are encouraged to bring works to class that they are preparing for recitals. Elizabeth Sawyer Parisot

MUS 535a–b, 635a–b, Recital Chorus—Voice 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, Recital Chorus—Conducting 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 538a–b, 638a–b, 738a–b, Cello Ensemble 2 credits per term. An exploration of the growing literature for cello ensemble emphasizing chamber music and orchestral skills as well as stylistic differences. Performances planned during the year. Required of all cello majors. Aldo Parisot

MUS 540a–b, 640a–b, 740a–b, 840a–b, Individual Instruction in the Major 4 credits per term. Individual instruction of one hour per week throughout the academic year, for majors in performance, conducting, and composition. Faculty

MUS 541a–b, 641a–b, 741a–b, Secondary Instrumental, Compositional, Conducting, and Vocal Study 2 credits per term. P/F. All students enrolled in secondary lessons can receive instruction in either voice or piano. In addition, YSM keyboard majors may take secondary organ or harpsichord, and YSM violinists may take secondary viola. Students who are not conducting majors may take only one secondary instrument per term. YSM students who wish to take secondary lessons must register for the course and request a teacher using the online form for graduate students found at http://music.yale.edu/study/music-lessons; the availability of a secondary lessons teacher is not guaranteed until the form is received and a teacher assigned by the director of lessons. Secondary instruction in choral conducting and orchestral conducting is only available with permission of the instructor and requires as prerequisites MUS 565a for secondary instruction in choral conducting, and both MUS 529a and 530b for secondary instruction in orchestral conducting. Students of the Yale Divinity School, School of Drama, and School of Art may also register as above for secondary lessons and will be charged $100 per term for these lessons. Questions may be sent by e-mail to the director, Richard Gard (richard.gard@yale.edu).

MUS 542a–b, 642a–b, 742a–b, The Philharmonia Orchestra of Yale and New Music New Haven 2 credits per term. Participation, as assigned by the faculty, is required of all orchestral students. In addition to regular participation in Philharmonia, students are assigned to New Music New Haven, to groups performing music by Yale composers, and to other ensembles as required. Faculty

MUS 543a–b, 643a–b, 743a–b, Chamber Music 2 credits per term. Required of instrumental majors (except organ) in each term of enrollment. Enrollment includes participation in an assigned chamber music ensemble as well as performance and attendance in master classes and chamber music concerts. Faculty and guests

MUS 544a–b, 644a–b, 744a–b, Seminar in the 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. At the discretion of each department, seminar requirements can be met partially through off-campus field trips and/or off-campus fieldwork, e.g., performance or teaching. 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 one hundred years). Enrollment required for voice majors enrolled through the Institute of Sacred Music. David Hill

MUS 615a,b, Improvisation at the Organ II 2 credits. This course explores modal improvisation, focusing on the composition techniques of Charles Tournemire and Olivier Messiaen. Students learn to improvise five-movement chant-based suites (Introit-Offertoire-Elevation-Communion-Pièce Terminale), versets, and a variety of free works using late-twentieth-century language. Classes typically are made up of two students, for a one-hour lesson on Mondays. The term culminates with an improvised recital, open to the public. In this recital, each student improvises for up to seven minutes on a submitted theme. Prerequisite: MUS 515. Jeffrey Brillhart

MUS 656a, Liturgical Keyboard Skills I 2 credits. In this course, students gain a deeper understanding and appreciation for musical genres, both those familiar to them and those 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. Hymn playing, with an emphasis on methods of encouraging congregational singing, is the principal focus of the organ instruction, but there is also instruction in chant and anthem accompaniment, including adapting a piano reduction to the organ. In the gospel style, 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. Prerequisite: graduate-level organ and piano proficiency. Walden Moore

MUS 657a, Liturgical Keyboard Skills II 2 credits. The subject matter is the same as for MUS 656, but some variety is offered in the syllabus on a two-year cycle to allow second-year students to take the course without duplicating all of the means by which the playing techniques are taught. Walden Moore

MUS 677a, Continuo Realization and Performance 4 credits. Acquisition of practical skills necessary for a competent and expressive performance from thorough-bass. Learning of figures, honing of voice-leading skills, and investigation of various historical and national styles of continuo playing as well as relevant performance practice issues. Regular class performances with an instrumentalist or singer. Open to pianists, harpsichordists, organists, and conductors. Arthur Haas

MUS 678b, Advanced Continuo Realization and Performance 4 credits. Practical and theoretical application of national and period styles from the entire Baroque era, 1600–1750. Students prepare and perform both unrealized and unfigured basses of vocal and instrumental sacred and secular literature from early Italian music through to the late Baroque and the empfindsamer style. Musical examples are supplemented with primary and secondary source readings. Prerequisite: MUS 677a or permission of the instructor. Arthur Haas

MUS 715a,b, Improvisation at the Organ III 2 credits. This course explores the improvisation of full organ symphony in four movements, Tryptique (Rondo-Aria-Theme/variations), improvisation on visual images, text-based improvisation, and silent film. Classes typically are made up of two students, for a one-hour lesson on Mondays. The term culminates with an improvised recital open to the public. In this recital, each student improvises for up to ten minutes on a submitted theme. Prerequisites: MUS 515 and MUS 615. Jeffrey Brillhart

MUS 815a,b, Improvisation at the Organ IV 2 credits. This course explores the improvisation of contrapuntal forms including partimento fugue, stylus fantasticus, fugue d’école, and choral preludes. Prerequisites: MUS 515, 615, and 715. Jeffrey Brillhart

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Composition

MUS 555b, Composition for Performers 4 credits. NP. Group A. This class looks at music composition from various historical and philosophical perspectives, with an eye toward discovering models and ideas that allow us to write music for ourselves. With a special emphasis on the history of text setting, we write and play music for each other and critique it ourselves. All are welcome. David Lang

MUS 620a, Orchestration for Performers and Conductors 4 credits. NP. Group A. This course on the basics of orchestration introduces the performer and conductor to both the knowledge of instrumentation (the mechanics and use of individual orchestral instruments) and the general techniques of classical orchestration (through score study). We use Samuel Adler’s The Study of Orchestration as a primary text for the study of instrumentation. This is supplemented by having live players come in weekly to talk about the specifics of their instruments. In addition, we look at several traditional works from the repertory, including Mahler’s Symphony No. 5, Debussy’s La Mer, and Stravinsky’s Rite of Spring. There are weekly quizzes on the instruments and a final exam on the orchestrational techniques studied. Christopher Theofanidis

MUS 652b, Instrumental Arranging 4 credits. NP. Group A. A practical study of writing for all instruments in all combinations including orchestra, concert band, jazz, and chamber ensembles. Enrollment limited. Willie Ruff

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Voice

MUS 504a–b, 604a–b, 704a–b, Dramatic Movement for Singers 1 credit per term. Stage movement tailored specifically for singers. Physical preparation of the body through exercises that develop strength, control, and flow of movement while releasing tensions and extending the range of movement possibilities. Emphasis is placed on stage presence and movement problems as applied to specific roles, and on transferring the class experience to the stage. Required. Christopher Murrah

MUS 506a–b, 606a–b, Lyric Diction for Singers 2 credits per term. A language course designed specifically for the needs of singers. Intensive work on pronunciation, grammar, and literature throughout the term. French, German, English, Italian, Russian, and Latin are offered in alternating terms. Required. Faculty

MUS 507a–b, 607a–b, Vocal Repertoire for Singers 2 credits per term. A performance-oriented course that in successive terms surveys the French mélodie, German Lied, and Italian, American, and English art song. Elements of style, language, text, and presentation are emphasized. Required. Faculty

MUS 508a–b, 608a–b, 708a–b, Opera Workshop 3 credits per term. Encompasses musical preparation, coaching (musical and language), staging, and performance of selected scenes as well as complete roles from a wide range of operatic repertoire. Required. Doris Yarick-Cross, coaching staff, and guest music and stage directors

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 522a–b, 622a–b, 722a–b, Acting for Singers 1 credit per term. Designed to address the specialized needs of the singing actor. Studies include technique in character analysis, together with studies in poetry as it applies to art song literature. Class work is extended in regular private coaching. ISM students are required to take two terms in their second year. Christopher Murrah

MUS 549a, Early Music Repertoire for Singers 2 credits. A survey of solo and chamber repertoire (song, madrigal, cantata, opera, oratorio, motet) from the early seventeenth century to the mid-eighteenth century. Related topics include performance practice, ornamentation, national styles, related instrumental music, research, and original sources and their modern transcriptions. Assignments emphasize practical applications such as composing ornaments, finding repertoire, and creating new editions. Offered every other year. Avi Stein

MUS 594a–b, Vocal Chamber Music 1 credit. 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 term. Fall term: An introduction to the major issues of historically informed performance, including notation, use of modern editions, and performance styles. Spring term: Advanced exploration of notation, performance styles, and ornamentation in specific repertoire. Open to conductors and instrumentalists with permission of the instructor. Judith Malafronte

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History and Analysis

MUS 510b, Music before 1700 4 credits. NP. Group B. An overview of music before 1700 within its cultural and social contexts. The goal of the course is knowledge of the repertoire representing the major styles, genres, and composers of the period. Course requirements include a midterm exam, two short papers, and a final exam. Markus Rathey

MUS 511b, Music of the Eighteenth Century 4 credits. NP. Group B. A survey of the principal forms and styles of the eighteenth century from Johann Sebastian Bach and George Frideric Handel to the early music of Beethoven. Major works from the operatic, liturgical, orchestral, keyboard, and chamber music repertoires illustrate the stylistic transformation from the high Baroque to the Classical period. Participants consider the music in the context of contemporary social and artistic thought. Course requirements include weekly readings and six short analytical papers. Paul Hawkshaw

MUS 512a, Music in the Nineteenth Century 4 credits. NP. Group B. An analytic and cultural survey of music in nineteenth-century Europe. The primary goal is intimate knowledge of repertoire representing the major styles, genres, and composers of the period, from Beethoven and Rossini to Strauss, Debussy, and Rimsky-Korsakov. Readings from primary documents (both critical and literary) provide grounding in historical events, aesthetic trends, and social contexts of nineteenth-century music making. Course requirements include weekly listening and reading, regular quizzes, two short music-analytic papers (2–3 pages), a midterm examination, and a final examination. Paul Berry

MUS 513a, Music since 1900 4 credits. NP. Group B. A detailed investigation of the history of musical style from ca. 1900 to the present. Issues to be considered include modernist innovations around 1910; serialism and neoclassicism in the interwar period; the avant-gardes of the 1950s and 1960s; postmodernism, neo-romanticism, and multiculturalism of the 1970s and beyond. Robert Holzer

MUS 520a, Keyboard Music of the Seventeenth and Eighteenth Centuries 4 credits. NP. Group B. This course offers a survey of keyboard repertoire of the seventeenth and eighteenth centuries. Students become familiar with influential composers from this time and trace the development of major genres and regional styles using representative works. Additional topics include instrument types and construction (organology), performance practice, notation, and editing music. Apart from attending and participating in weekly course meetings, students also visit Yale’s Collection of Musical Instruments and the Krigbaum organ at the Divinity School’s Marquand Chapel for an opportunity to hear and perform the works studied on period instruments. Moira Hill

MUS 523a, Phrase and Form in the Classical String Quartet 4 credits. NP. Group B. A detailed introduction to the Viennese Classical Style as exemplified in the string quartets of Haydn, Mozart, and Beethoven. Through close engagement with selected repertoire, the course helps the student develop a flexible and nuanced approach to the articulation of phrase groups and the interpretation of large-scale form. Quartets are chosen in part according to students’ interests and current performance projects. Among works to be addressed are Haydn’s Op. 20, 33, 50, 64, and 76; Mozart’s K. 387, 421, 465, and 590; and Beethoven’s Op. 18, 59, 95, and 135. Readings include Heartz, Rosen, Ratner, Caplin, and Hepokoski/Darcy. Course requirements include weekly listening and short readings, four brief response papers (1–4 pages), occasional oral presentations, and a final examination on topics chosen by the student. Paul Berry

MUS 554a, German Passions of the Eighteenth Century 4 credits. NP. Group B. This course is designed to familiarize students with the development of the passion genre over the course of the eighteenth century in German-speaking regions of Europe. Famous or representative passions are examined from various angles. For each work we consider its historical, musical, and theological contexts; the content and structure of its libretto and musical setting; and, when applicable, its impact on other composers. Moira Hill

MUS 560a, Research and Editions 4 credits. NP. Group B. A course in music bibliography and research methods that emphasizes important printed and electronic reference tools in music and how to use them. The course also presents an overview of the issues involved in editing a musical work, for which students compare various editions of the same work. Ruthann B. McTyre

MUS 567b, The Ballets Russes 4 credits. NP. Group B. This course follows the evolution of the Ballets Russes from its origins at the turn of the twentieth century as part of the Parisian “World of Art” exhibitions, in which Sergei Diaghilev imported contemporary art and experimental opera and dance productions from Russia, through its prime years (1909 to 1929) as an established ballet company, and ending in the company’s eventual breaking apart into groups settling in the United States and Monte Carlo. We further examine the subsequent impact of that splitting apart on the contemporary dance, music, and art scenes in the United States. The 1909 to 1929 years are the primary focus of the course, with an emphasis on the musical masterworks that were born of Diaghilev’s vision: works by Debussy, Milhaud, Poulenc, Prokofiev, Ravel, Satie, Respighi, Strauss, and of course, Stravinsky, among many others. We examine how Diaghilev brought together many of the most influential artists of the time, such as Braque, Picasso, Chanel, Matisse, Derain, Miró, de Chirico, Dali, and Cocteau, to collaborate with these composers. Students are given a brief primer on ballet and become familiar with the work of the important choreographers associated with the Ballets Russes, such as Michel Fokine, Vaslav Nijinksy (as both dancer and choreographer), Léonide Massine, and George Balanchine. Course requirements include a midterm, a final exam, and a paper. Christopher Theofanidis

MUS 570b, Schubert’s Last Year 4 credits. NP. Group B. This class focuses on the extraordinary music written by Franz Schubert in his last year of life. We analyze and discuss this music in great depth, with the goal of arriving at a thorough and sensitive understanding of it from an analytical and historical perspective. Pieces include the Quintet in C Major, the last three Piano Sonatas, the Mass in E-flat Major, and several of the late songs. The primary purpose of the class is to gain an intimate and firsthand knowledge and understanding of Schubert’s late music, so while some reading is assigned, the main emphasis is on doing our own analyses of this music. Readings are drawn from various sources, including Susan Wollenberg’s Schubert’s Fingerprints: Studies in the Instrumental Works, Leo Black’s Franz Schubert: Music and Belief, Otto Erich Deutsch’s Schubert: A Documentary Biography (trans. Eric Blom), and Suzannah Clark’s article “Schubert, Theory and Analysis.” Analytical methods used draw upon (but are not limited to) some aspects of Schenker’s theory. As a reference point, we also review concepts of classical form, which help elucidate some of Schubert’s innovations and specific proportional features in the music. Course requirements include two substantive (20 pages) papers, one due at midterm, the other at the end of the term, detailing the student’s analyses of late Schubert; students choose which piece(s) to analyze, with approval of the instructor. Students are expected to participate fully in class discussions and to have prepared for each class by listening to and studying the score to each piece to be discussed. Hannah Lash

MUS 572a, Analysis of Music from the Composer’s Perspective 4 credits. NP. Group B. This course is designed to provide composers (and others interested in composition) with the opportunity to evaluate and analyze important musical compositions from a creator’s point of view. Works of music have been analyzed by theorists, musicologists, ethnomusicologists, performers, and audiences for their own purposes. The goal of this course is to explore the decisive musical choices that remain after accounting for the contexts and constraints of theory, history, and sociology. We attempt to address the significance and character of what, given the histories and theories of music, is finally “composed” by a composer. Selected compositions are discussed and analyzed. The class includes listening, lectures, and discussions, with readings and analysis from prepared scores (available for purchase) and reserved materials. Attendance is monitored. Grades are determined primarily by a midterm and a final exam. Enrollment limited to twenty. Martin Bresnick

MUS 573a, Jazz and Race in America 4 credits. NP. Group B. An introduction to jazz from its roots in African music, through its development in New Orleans (1900–1917), to its evolutionary expansion throughout the United States. The course includes a study of jazz’s greatest artists and their styles, a selection of music in various jazz styles from the 1880s through the 1970s, and an examination of the social, racial, and economic factors that gave rise to its various styles. This introductory course may be redundant for students who have already had a course in jazz history. Students with some knowledge of jazz history may want to take this course to help them develop their own curriculum in preparation for teaching a similar course. Course work is done through a combination of online work, short essay papers, and reading assignments. Thomas C. Duffy

MUS 585b, Twentieth-Century Analysis and Model Composition 4 credits. NP. Group B. Advanced studies in the theory, analysis, and composition of the music of the early and mid-twentieth century. Prerequisite: MUSI 211a or b or equivalent. Enrollment limited to fourteen. Michael Friedmann

MUS 593a, Analysis of Music since 1960 4 credits. NP. Group B. This course in the analysis of contemporary repertoire focuses on helping students gain a thorough understanding of certain pieces written by living or recently deceased composers, ranging from Sofia Gubaidulina’s Feast during a Plague and Mauricio Kagel’s Les idées fixes and Musik für Renaissance-Instrumente, to selected piano pieces of Frederic Rzewski. The goal is to become flexible using analytical tools that are fluid enough to be sensitive to each work, in order to arrive at a deep and thorough understanding of each piece. It is impossible to use only one analytical method when considering contemporary music, because there is no common syntax among pieces that would allow for a descriptive theory. The course therefore presents a range of tools for analyzing nontonal music, from a modified post-Schenkerian theory of linearity and directionality, to various strands of Neo-Riemannian theory as presented by David Lewin, Richard Cohn, and others. Recent work by Alexander Rehding is considered, and we visit selections from The Oxford Handbook of Neo-Riemannian Music Theories. We also read, among other analyses, Lewin’s Musical Form and Transformation. The main goal, however, is to develop our own ways of thinking about and understanding contemporary music. So while such readings are useful in promoting fluency with critical and connective thinking, students are challenged to be adaptive in their methods to respond to specific contexts and syntaxes, which can change not only from piece to piece, but within a single work. Hannah Lash

MUS 613b, The Chamber Music of Johannes Brahms 4 credits. NP. Group B. A study of selected chamber works by Brahms coupling analytical research with practical performance. Advanced violinists, cellists, clarinetists, hornists, and pianists admitted by audition. Michael Friedmann

MUS 628b, The Operas of Giuseppe Verdi 4 credits. NP. Group B. A survey of the operas of Giuseppe Verdi. Special attention is given to the interaction of music and drama, as well as to the larger contexts of his works in nineteenth-century Italian history. Regular attendance and informed participation in classroom discussion, in-class presentations, two papers. Four excused absences are permitted; more than four absences results in severe consequences for the final grade. Robert Holzer

MUS 648a, Edison’s Talking Machine and the American Jazz Century 4 credits. NP. Group B. A term-long series of lecture presentations by Willie Ruff that draws heavily on interviews he recorded in 1974 with Ethel Waters, Eubie Blake, Earl Hines, Benny Carter, Dizzy Gillespie, Miles Davis, and others. These interviews, together with an extensive conversation between Ruff and Columbia Records producer John Hammond, subsequently became an annotated Anthology of Classic Jazz on phonograph records. The anthology will be useful in tracing the story of the creation and evolution of the American entertainment scene along with the social, artistic, and technical circumstances that prevailed in the recording industry from the 1880s into the twentieth century and beyond. The brilliance of Edison’s 1877 idea for a “Talking Machine” is matched only by the serendipitous fact that it came into being almost in time to capture the beginnings of jazz. The great news is that it was precisely in time to capture the voices of the iconic jazz masters telling their own stories for the anthology. There are powerful stories behind all their classic masterworks, from “Stormy Weather” to “Saint Louis Blues” to “West End Blues” to “Charleston Rag” to “Grooving High” to “Miles Ahead” and more. Willie Ruff

MUS 654b, Radical Piano Miniatures, 1800–2000 4 credits. NP. Group B. A study of compositional innovation in single-movement works for solo piano. Beginning with Beethoven’s bagatelles and Schubert’s impromptus, the course charts a path through some of the most important developments of the nineteenth and twentieth centuries, including chromatic harmony, serial and other post-tonal idioms, the emergence of texture as a central compositional preoccupation, and the changing capabilities of the piano itself. Repertoire is chosen in part according to students’ interests and current performance projects. Examples include works of Beethoven, Schubert, Field, Chopin, Liszt, Wieck, Schumann, Brahms, Scriabin, Debussy, Schoenberg, Stravinsky, Gershwin, Cowell, Cage, Ligeti, Adams, Lachenmann, and Rihm. Course requirements include weekly listening and short readings, three brief response papers (1–3 pages), occasional oral presentations, and a final oral examination on topics chosen by the student. Paul Berry

MUS 852b, D.M.A. Seminar I 4 credits. NP. Group B. Required of all D.M.A. candidates during the spring term of their first year in residence. The study of a specific topic or topics provides candidates with expanded opportunities for research. Paul Berry

MUS 853a, D.M.A. Seminar II 8 credits. NP. Group B. Required of all D.M.A. candidates during the fall term of their second year in residence. An introduction to the problems and methodology of musicology and theory. In consultation with individual advisers, candidates work toward completion of a thesis draft. D.M.A. written comprehensive examinations take place during this term. Robert Holzer

MUS 854b, D.M.A. Colloquium 4 credits. NP. Group B. Required of all D.M.A. candidates during the spring term of their second year in residence. Class meetings and sessions with advisers aimed at completing the thesis. Theses are normally due the last Friday of March, and public presentations take place in April. D.M.A. qualifying oral examinations take place at the end of this term. Robert Holzer

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Special Studies

MUS 518b/REL 685b, In the Face of Death: Worship, Music, Art 4 credits. NP. Group C. This seminar proposes for intellectual inquiry the rich traditions that worship, music, and the visual arts have created and continue to offer in the face of death. The focus in this seminar is on the Christian tradition. Given the breadth of the subject matter, the course attends to a broad spectrum of themes quite selectively. Readings of historical sources themselves (textual and nontextual), scholarly research into the past, and analysis of contemporary materials form the core materials. The course is shaped by three foci of inquiry: ritual, music, and art as they relate to (1) those who have died, (2) those who are dying, i.e., facing imminent death, and (3) the confrontation with one’s own dying. The Christian tradition holds rich resources and insights for all three of these subject matters. The course creates space for a nuanced reflection on this tradition, as both backdrop and resource for contemporary engagement. Markus Rathey, Teresa Berger

MUS 521a, English Language Skills 4 credits. NP. Group C. Classes are designed for students who are at a basic or intermediate level of English and are intended to address specifically writing skills and grammar. Students who have passed the TOEFL and students needing to improve TOEFL scores attend. Classes consist of lectures, discussions, class participation, in-class writing exercises, vocabulary tests, and fluency exercises. Attendance is required at all sessions. Serena Blocker

MUS 550a, Music Technology for the Practicing Musician 2 credits. NP. Group C. An overview of pertinent technological developments and their historical contexts. Designed for students who have had little or no prior experience in this area. The discussion groups for this course are hands-on workshops. These provide an opportunity for students to meet in small groups and gain firsthand experience using the digital systems in the Center for Studies in Music Technology (CSMT). Students are expected to attend one workshop per week. Jack Vees

MUS 551b, Studio Techniques and Contemporary Popular Music 2 credits. NP. Group C. This course combines a detailed presentation of the various elements of the Center for Studies in Music Technology (CSMT) studios along with a survey of popular music that has been shaped by the studio environment. The works of artists from Abba to Zappa and the recordings of performers from Les Paul to Brian Eno are typical of the works presented. The discussion groups are hands-on workshops that provide an opportunity for students to meet in small groups and gain firsthand experience using the digital systems in CSMT. Students are expected to attend one workshop per week. Preference given to second-year students. Jack Vees

MUS 562b, Music in Art 4 credits. NP. Group C. This course addresses specific topics in musical iconography, i.e., the manner in which artists and sculptors of different periods have used music for symbolic purposes. An objective of the course is to consider the degree to which the portrayal of music in the visual arts reflects a particular society’s attitude toward music. From this, one can draw conclusions about the function of music within that society. Readings are assigned and a paper is required. Paul Hawkshaw

MUS 565a, Elements of Choral Technique 4 credits. NP. Group A. An exploration of conducting technique, rehearsal technique, score analysis, and repertoire for the choral conductor, this course is designed for students who are not majoring in choral conducting but are interested in learning the essentials of choral technique. Repertoire from the sixteenth century to the present is explored.

MUS 578b, Music, Service, and Society 4 credits. NP. Group C. What is a musician’s response to the condition of the world? Do musicians have an obligation and an opportunity to serve the needs of the world with their musicianship? At a time of crisis for the classical music profession, with a changing commercial landscape, a shrinking audience base, and a contraction in the number of professional orchestras, how does a young musician construct a career today? Are we looking at a dying art form or a moment of reinvigoration? In this course we develop a response to these questions, and we explore the notion that the classical musician, the artist, is an important public figure with a critical role to play in society. The course includes inquiry into a set of ideas in philosophy of aesthetics; a discussion about freedom, civil society, and ways that art can play a role in readying people for democracy; discussion on philosophy of education as it relates to the question of positive social change; and an exploration of musical and artistic initiatives that have been particularly focused on a positive social impact. Enrollment limited to twenty. Sebastian Ruth

MUS 621a, Careers in Music: Creating Value through Innovative Artistic Projects 2 credits. NP. Group C. This course teaches entrepreneurial and personal leadership skills with a focus on a group termlong project. Working from the psychological framework of the growth mindset and emotional intelligence, students articulate their artistic mission and purpose, acquire tools of innovation, and learn how to design, manage, market, and implement innovative artistic projects in an environment that encourages taking risks and learning from experience. Students are grouped in small teams in order to learn how to collaborate within an artistic team. They also learn communication, presentation, and public speaking skills. The class combines instruction with group discussions, feedback, and coaching on the project from fellow students, faculty, and alumni mentors. Course requirements include successful completion of the project, weekly readings and assignments, a final paper, and in-class presentations. Enrollment limited to twenty; permission of the instructor required. Preference is given to D.M.A. and second-year students. Attendance is mandatory with one excused absence. Astrid Baumgardner

MUS 680a–b, The Art of Recording for Music 2 credits per term. NP. Group C. A workshop dealing with state-of-the-art digital recording techniques, equipment, studio acoustics, and compact disc production, with special emphasis placed on preparing students to use recording facilities as a musician on both sides of the microphone. The first term is devoted to a general survey of digital recording techniques through experimental recording of various student and professional musical ensembles. The second term is devoted exclusively to compact disc production. As a final project, each student produces a recording session using classmates or professional ensembles and works through the postrecording process to provide a digital tape suitable for compact disc production. Enrollment limited. Permission of the instructor required. Counts as one NP for the year. Must be taken in both the fall and spring terms. Eugene Kimball

MUS 690a,b, Independent Study Project 2 credits per term. NP. Second- or third-year students with the consent of the deputy dean may elect, for one term only, to pursue individual study in specialized areas of interest, under the supervision of faculty members. An outline for proposed individual study must be completed and approved prior to the beginning of the term in which the student expects to pursue the special study. Forms are available in the Office of the Registrar. Faculty

MUS 999a–b, D.M.A. Dissertation 0 credits. Faculty

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Yale Institute of Sacred Music

MUS 519a–b, 619a–b, 719a–b, Colloquium 1 credit per term. NP. P/F. Participation in seminars led by faculty and guest lecturers on topics concerning theology, music, worship, and related arts. Counts as one NP in the fourth term. Required of all Institute of Sacred Music students. Martin Jean

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Graduate-Level Courses in the Department of Music

Permission for admission to graduate courses offered by the Department of Music must be obtained from the director of graduate studies of the department. The following courses are available in the graduate department in 2016–2017 (4 credits each term).

  • MUSI 625b, Sonata Theory Group A. James Hepokoski
  • MUSI 627b/REL 683b, Liturgy, Ritual, and Chant of Medieval England (Sarum Use) Group B. Bryan Spinks, Henry Parkes
  • MUSI 697a, Proseminar: Ethnomusicology Group C. Michael Veal
  • MUSI 698b, Proseminar: Music Theory Group A. Daniel Harrison
  • MUSI 816a, Materials of Music Research Group B. Rebekah Ahrendt
  • MUSI 850a, Analysis of Russian Music: Glinka to Stravinsky Group B. Patrick McCreless
  • MUSI 952a, Musical Meter Group A. Richard Cohn
  • MUSI 986a, Corpus Methods in Music Research Group B. Ian Quinn

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