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 500a–b and 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, 503a, 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. Joan Panetti, chair

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 655b, Sixteenth-Century Counterpoint 4 credits. NP. Group A. This is a class on the practice of sixteenth-century counterpoint. Students learn the conventions of the style through the study of existing repertoire from such composers as Morales, Byrd, de Lassus, and Palestrina. Weekly exercises cover the study of species counterpoint and look specifically at such matters as melodic writing, two- and three-voice counterpoint, cadences and handling of dissonances, imitation and canon, and finally four-voice textures up to eight-voice textures in polychoral style. Although we touch upon several texts including Fux’s treatise, we use as a basic guide Robert Gauldin’s A Practical Approach to Sixteenth-Century Counterpoint. Texts, however, can only offer a summing up of the conventions that exist in the repertoire. So while such manuals are helpful, the most valuable way to learn these conventions is by study of the repertoire itself. Therefore a large component of the course familiarizes students with the music of the great masters of sixteenth-century polyphonic writing and uses that music as the real jumping-off point for the student’s own practice of counterpoint. Hannah Lash

MUS 660b, Analysis from a Schenkerian Perspective 4 credits. NP. Group A. This class is both an analysis and a history class, focusing on Schenker’s theory of harmony and the possibilities it provided for insight into music of the classical period. Students learn how to graph pieces and are expected to complete weekly analysis assignments. We also discuss the limitations of this theory, both in its exclusion of music in any other style period than that of the classical era, but also in its starkly reductive approach. Conversely, does it offer us tools to understand a more expanded repertoire than Schenker envisioned? Can we apply its principles to music currently or recently written—or to music of the Baroque and before? Primary texts are Allen Forte and Steven Gilbert’s Introduction to Schenkerian Analysis and Allen Cadwallader and David Gagné’s Analysis of Tonal Music: A Schenkerian Approach. Hannah Lash

MUS 692b, Advanced Hearing and Analysis 4 credits. NP. Group A. For musicians who are passionate about integrating aural, analytic, and performance skills. Students, in consultation with the instructor, choose repertoire to perform, present, and discuss in class. There are short papers as well. Permission of the instructor required. Joan Panetti

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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

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Composition

MUS 505b, Orchestration through Contemporary Score Study 4 credits. NP. Group A. The study of advanced concepts in orchestral writing through the study of music of the past thirty years. Composers represented include Henri Dutilleux, Jacob Druckman, John Adams, Tan Dun, Magnus Lindberg, Thomas Adès, Helmut Lachenmann, and Marc-André Dalbavie, among others. Christopher Theofanidis

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. Marc Verzatt

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. Marc Verzatt

[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. Not offered in 2015–2016]

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 547a, Text, Form, and Narrative in Program Music, 1650–1900 4 credits. NP. Group B. A study of programmatic texts, musical forms, and implied narrative in program music from its origins through the end of the nineteenth century. Beginning with the seventeenth century and proceeding through the fruition and collapse of functional tonality, the course considers various modes of interaction between instrumental music and the titles and texts that accompanied it. The goal is a fluid and stylistically sensitive approach to storytelling through harmony, affect, and form in both symphonic and chamber repertoire. Among composers addressed are Marini, Froberger, Biber, Vivaldi, Bach, Haydn, Beethoven, Mendelssohn, Berlioz, Schumann, Liszt, Rimsky-Korsakov, Brahms, Strauss, Dukas, Dvorák, Debussy, and Schoenberg. Course requirements include weekly listening and short readings (mainly programmatic texts in English translation), four brief response papers (1–3 pages), occasional oral presentations, and a final examination on topics chosen by the student. Paul Berry

MUS 554a, Piano Pedagogy 4 credits. NP. Group B. The course covers the basic principles of teaching, including diverse theoretical approaches in cognitive, behaviorist, and humanist psychology to curriculum planning and teaching; a history of piano methods from the early seventeenth century to the present; anatomy of the hand; physics and physiology of piano playing; piano technique, including analytic teaching of all basic attributes of virtuoso piano playing; analysis of various piano-technique methods; teaching efficient practice methods in piano playing; the idea of the piano as an orchestra; memory in piano playing: teaching efficient memorization techniques; teaching sight reading in piano; anatomical and musical considerations of fingering; and detailed analysis of virtuoso passages and its implementation in piano pedagogy. Eitan Globerson

MUS 558a, Introduction to the Analysis of Nontonal Music 4 credits. NP. Group B. This course consists of the examination of various analytic techniques and their use in the analysis of music by Berg, Boulez, Dallapiccola, Ligeti, Lutoslawski, Schoenberg, Stravinsky, Varèse, Webern, and others. Helpful, but not a prerequisite, is some prior exposure to Schenker analysis and a knowledge of the fundamentals of set theory. Thomas C. Duffy

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. Kendall Crilly

MUS 577b, Tonal Affect and Allegory in the Vocal Music of J.S. Bach 4 credits. NP. Group B. The primary aim of this course is to explore the significance of Bach’s key choices in his major sacred works, including their relation to musical affect and topos and to potential symbolic and allegorical meanings. Topics explored include mode, key, and tonal space: theory and (compositional) practice in the German Baroque; tuning, temperament, and transposition: practical performance considerations; musical topoi, dance types, and musical instruments; secular and sacred vocal genres; musical-theological hermeneutics. Although Bach’s tonal choices comprise the central focus of this course, these choices are always considered as but one facet of a broad musical interpretive approach. Michael Dodds

MUS 579b, Responses to War in the Choral Genre 4 credits. NP. Group B. The course examines how composers of choral music have responded to the subject of war, and how they have used the unique nature of the choral instrument and the specific conventions of the repertoire to comment on war’s devastating impact. Through listening, reading, analysis, and a final written project, we explore a wide range of such pieces, including sixteenth-century chansons, masses of Haydn and Beethoven, and more recent works by such composers as Bliss, Vaughan Williams, Delius, Tippett, Hindemith, Britten, and Adams. Ultimately, we try to see what common threads connect these works, and what their differences say about changing musical values and perceptions of war from one generation to another. Permission of the instructor required. Jeffrey Douma

MUS 581a, Gregorian Chant at the Keyboard 4 credits. NP. Group B. This seminar course considers how keyboard practices and repertories throughout the ages have been shaped by the singing of Gregorian chant. With attention not only to the organ, but also to piano, harpsichord, and harmonium, students learn about the liturgical and vocal contexts behind famous chant-based works, the ways in which chant has been used in composition (including the roles of mode, rhythm, counterpoint, and harmony), the significance and meaning of chant citations, the influence of performance traditions and editions (including fauxbourdon, the Editio Medicea, the Cecilian Movement, and the monks of Solesmes), and the historical role of church proclamations and prohibitions. Repertories to be considered include Tudor composers, Frescobaldi, Bach, Couperin, Liszt, Satie, Tournemire, and Messiaen. Henry Parkes

MUS 589b, Approaches to the Classical Style 4 credits. NP. Group B. An examination of recent and contemporary scholarship on eighteenth-century music, aimed at applying varying approaches to works composed between approximately 1730 and 1800. Among the thinkers and topics to be considered are Charles Rosen and James Webster on periodization, Daniel Heartz on the galant style, Leonard Ratner on rhetoric and topics, Eric Weimer and Janet Levy on texture, James Hepokoski and Warren Darcy on form, and Leonard Meyer and Robert Gjerdingen on schemata. Robert Holzer

MUS 592b, Chamber Music of Beethoven: Analysis and Performance 4 credits. NP. Group B. This course relates the analysis of Beethoven’s chamber music to its performance. Repertoire is drawn from the following: trios for violin, cello, and piano; sonatas for violin or cello and piano; string quartets or possibly string trios; the trio for clarinet, cello, and piano; the quintet for piano, oboe, clarinet, bassoon, and horn; and the song cycle An die Ferne Geliebte for tenor and piano. Prerequisites: completion of MUS 211 and very advanced instrumental skills. Audition/interviews of instrumentalists in the above categories are held at the beginning of the term to verify advanced instrumental skill and ability to look at scores analytically. The entire class analyzes the 3–6 works to be performed at the end of the term, and quizzes check students’ detailed knowledge of form and content of the works. The class requires a seven-page term paper (fifteen if course is taken as a major/senior seminar) on a dimension or movement of each student’s assigned work. A commitment to both rehearsal of the works and analytic knowledge of all of them represents the core activity of the class. Michael Friedmann

MUS 598b, The Piano Trio, 1785–1945: Form, Texture, Affect 4 credits. NP. Group B. A study of form, texture, and affect in piano trios from the origins of the genre until the end of World War II. Beginning with examples from the late eighteenth century, the course charts a path through some of the most important developments of the next 160 years: chromatic harmony, formal and temporal experimentation, post-tonal idioms, and narrative and programmatic content. A parallel concern is the composer’s response to evolving instruments and changing performance practices. Repertoire is chosen in part according to students’ interests and current performance projects. Among composers addressed are Mozart, Haydn, Beethoven, Schubert, Wieck, Schumann, Brahms, Dvorák, Ravel, Clarke, Copland, and Shostakovich. Course requirements include weekly listening and short readings, three brief response papers (1–4 pages), occasional oral presentations, and a final oral examination on topics chosen by the student. Paul Berry

MUS 617a/REL 643a, Music and Theology in the Sixteenth Century: Luther, Calvin, Zwingli, and the Council of Trent 4 credits. NP. Group B. The Protestant Reformation in the sixteenth century was a “media event.” The invention of letterpress printing, the partisanship of artists like Dürer and Cranach, and—not least—the support by musicians and composers were responsible for spreading the thoughts of Reformation. But while Luther gave an important place to music, Zwingli and Calvin were much more skeptical, and the English Reformation, given its unique circumstances, had yet another view of music and its function within liturgy and devotional life. The course shows how music was viewed by different camps of the reformation as well as by Catholic theologians from the sixteenth century. Which theological decisions formed the basis for their view? How did these theologies of music affect musical practice, such as liturgical singing and more elaborate art music? This class will meet for the first time on September 8. Markus Rathey

MUS 634b, The History and Repertoire of the Wind Band 4 credits. NP. Group B. A study of the history and repertoire of the wind orchestra—an ensemble that includes the wind band, the wind ensemble, and the symphonic wind ensemble. The study begins with a historical overview of wind consorts in the Middle Ages and progresses to the wind band/ensembles of the twenty-first century. Repertoire studies include Mozart’s Gran Partita; Dvorák’s Serenade for Winds; Strauss’s Serenade for Winds; Gounod’s Petite Symphonie; Holst’s First Suite; Grainger’s Lincolnshire Posy; Hindemith’s Symphony in B-flat; Husa’s Music for Prague, 1968; and other pieces from the later twentieth and twenty-first centuries. This class has an online component and a pedagogical unit; students prepare a teaching unit at the end of the course, focusing on a wind band piece of their choosing. Thomas C. Duffy

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 667a, Lieder of Schumann 4 credits. NP. Group B. This course delves into the Lieder of Schumann, taking an in-depth analytical approach. We discuss Schumann’s relationship to the poetry; his approach to form, harmony, and timbre; and the synthesis of all these elements. The cycles we concentrate on include Myrthen, Op. 25; Dichterliebe, Op. 48; and Liederkreis, Op. 24 and 39. We approach analysis of the Lieder from an organic yet rigorous standpoint, graphing harmonies and harmonic relationships, large and small-scale implications of chromaticism, and what functionality in harmony means in this very special context. Although we concentrate more on the actual music, we look at some biographical writings, such as Herbert Bedford’s Robert Schumann—His Life and Work and Hermann Abert’s Robert Schumann, as well as some of Schumann’s own writings. Hannah Lash

MUS 674a, Analysis of Western Music (1199–1939) 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 from 1199 to 1939 are discussed and analyzed. Martin Bresnick

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 identify a thesis topic and begin writing. D.M.A. written comprehensive examinations take place during this term. Michael Friedmann, 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. Michael Friedmann, Robert Holzer

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Special Studies

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 553b, Music Technology: Advanced Individual Projects 2 credits. NP. Group C. A course for those who have completed MUS 550a or have displayed proficiency in the genre. An in-depth look at the important influences of technology upon the creation of music in the studio. Topics include sequencing, sampling, notation, and digital signal processing. Various hardware and software packages that make these processes available to the professional musician are examined. Students complete an individual project, the scope and nature of which are determined at the beginning of the term. A project may be the creation of an original piece, or it may also include the construction of sample libraries or a study of digital processing of acoustic instruments, in order to make the course relevant to the needs and interests of performers as well as composers. 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 CSMT. Enrollment limited. Preference given to second-year students. Jack Vees

MUS 559a, The Musical Brain, from Signal to Cognition 4 credits. NP. Group C. Music is a ubiquitous phenomenon that plays an integral part in every human culture. Music’s enigmatic impact on humankind has occupied intellectuals and scholars since the dawn of civilization. Presently, the impact of music on the human brain is being intensively investigated utilizing cutting-edge research methods. This interdisciplinary course focuses on the neural mechanisms underlying various features of music behavior such as perception, performance, emotion, and expectation. The course is designed for students in the Yale School of Music as well as those majoring in related scientific disciplines, such as neuroscience and psychology. It is divided into several units, each focusing on one key aspect of music processing and its brain correlates. For example, we examine the way the auditory system transforms the acoustic signal that reaches the ear into a multilayered musical percept; in addition, we inspect how brain regions dedicated to language processing are involved in the processing of musical syntax. Each unit is comprised of an introductory class providing the necessary background in either music theory or neuroscience; a review of relevant research studies that focus on the selected topics; and an exploration of the possible applications of the accumulated knowledge and a discussion of options for future studies in that field. Students present a short proposal for a research project on the topic reviewed in each unit. The presentation is delivered by a mixed group of musicians and non-musicians. Eitan Globerson

MUS 575b/REL 961b, Psalms in Scripture, Literature, and Music 4 credits. NP. Group C. A study of selected psalms (e.g., 23, 51, 130, 150) as literary and theological works that have had a long history in Jewish and Christian worship. From this beginning we then look at these scriptural texts as inspiration for a wide variety of literary and musical compositions. Our goal is to explore the richness and power of the Psalter through an examination of the relationship between Scripture and art, in this case music and literature. What happens to the biblical text over time and as it is interpreted in different media? Markus Rathey, Peter S. Hawkins

MUS 578a, 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 602b, Music and Civil Society: Exploring Possibilities 4 credits. NP. Group C. The question of relevance plagues arts organizations in the beginning of the twenty-first century. With changing expectations about how and where the public accesses the arts, arts organizations are reassessing how they do business, and for whom. Meanwhile, artists have long been credited with having meaningful impacts on society. In this class, we explore three lines of inquiry to understand the potential role the arts can play in building civil society: philosophy of aesthetics, history of social/political arts movements, and education as a strategy for positive change. We also study examples of musical institutions whose missions are directly related to building civil society. Enrollment limited to twenty. Sebastian Ruth

MUS 618a/MUSI 824a, Intimacy, Love, and Devotion in Seventeenth-Century Music 4 credits. NP. Group B. The musical development in the seventeenth 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 in music. These developments in music went along with a paradigm shift in theology and piety in the seventeenth century; contemporary theologians emphasized the individual and his/her relationship with the divine. There was a revival of medieval mysticism, and metaphors of love and emotion were 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 examines the theological and musical developments in the seventeenth century and analyzes the relationship among the musical, literary, philosophical, and theological discourses during the Baroque. Follows Graduate School academic calendar. Markus Rathey

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. 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 2015–2016 (4 credits each term).

MUSI 699a, Proseminar: Musicology Group B. Gary Tomlinson

MUSI 803a, Rondeau, Ballade, Virelai Group B. Anna Zayaruznaya

MUSI 820a, Ethnomusicology and Gender Group B. Michael Veal

MUSI 821b, Polyphonies East and West Group B. Henry Parkes, John Graham

MUSI 903b, The Voice Group B. Brian Kane

MUSI 930a, Tonality in Seventeenth-Century Music Group B. Ian Quinn

MUSI 950a, Shostakovich Group B. Patrick McCreless

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