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. Faculty

MUS 658a, 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. The course also extends the ear-training skills into the area of analysis, although analysis is secondary to ear training. Enrollment limited to fifteen. Michael Friedmann

MUS 688b, Eighteenth-Century Counterpoint 4 credits. NP. Group A. In this class, students learn eighteenth-century counterpoint through intensive study of selected works, mainly by J.S. Bach, and through weekly composition assignments. The goal of the class 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: MUS 502a or 503a or equivalent. 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, 615a–b, 715a–b, 815a–b, Improvisation at the Organ 2 credits. Development of improvisatory skills at the keyboard. 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, 731a–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, 732a–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, 733a–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, 735a–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, 736a–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, 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. 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. Any other students who wish to take secondary lessons in any other instruments must petition Sarita Kwok by e-mail (sarita.kwok@yale.edu) by the date that schedules are due for each term. Non-YSM students in the graduate or professional schools will be charged $100 per term for secondary lessons.

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. Shinik Hahm

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 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

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Composition

MUS 505a, 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 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, 706a–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, 707a–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. 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 518a/REL 685a, In the Face of Death: Worship, Music, Art 4 credits. NP. Group B. 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 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 Opus 20, 33, 50, 64, and 76; Mozart’s K. 387, 421, 465, and 590; and Beethoven’s Opus 18, 59, 95, and 132. Readings include Rosen, Heartz, Ratner, Caplin, and Hepokoski/Darcy. 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 539a, The Motet in the Sixteenth and Seventeenth Centuries 4 credits. NP. Group B. The motet was the most important vocal genre in the fifteenth and sixteenth centuries. Composers such as Josquin Desprez, Orlando di Lasso, and Giovanni Pierluigi da Palestrina led the genre to its peak. In the seventeenth century, however, the genre underwent a transition. Modern genres like concerto, monody, and solo song employed, on the one hand, techniques that were developed in the motet (e.g., counterpoint), yet on the other hand, they claimed the place of the motet as the leading vocal genre in church music. The course outlines the history of the motet in the crucial time between its peak in the sixteenth century (starting with Josquin) and its transition (or one might even say dissolution) into other genres in the seventeenth century (until Bach). The course combines a general overview with an in-depth study of selected composers. In addition to this analytical approach, the course looks at the religious context of this music-historical change of paradigm, as the transition from polyphonic music in the sixteenth century to soloistic genres in the seventeenth coincided with a change in piety around the turn of the century. Course requirements include participation in discussions, two or three short essays, a twenty-minute presentation, and a final paper of approximately fifteen pages. Markus Rathey

MUS 557b, The Symphonies of Beethoven 4 credits. NP. Group B. An analytical survey of the Beethoven symphonies in their cultural and historical context. The mature instrumental style of Haydn and Mozart serves as a point of departure for a discussion of selected movements from the nine symphonies in chronological order. Participants are required to purchase economical scores. Readings are selected from Charles Rosen, Leonard Ratner, James Hepokoski, and others. Course requirements include a midterm, an analytical paper, and a final examination. Paul Hawkshaw

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 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 upon 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 will help elucidate some of Schubert’s innovations and specific proportional features in the music. Course requirements include two substantive (twenty-page) 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 Composers’ 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 final exam. Enrollment limited to twenty. Martin Bresnick

MUS 573b, 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 years 1900–1970, 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 in the future. There is a writing requirement of two papers in addition to regular listening 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. Enrollment limited to eighteen. Michael Friedmann

MUS 587b/REL 744b, The German Mystical Tradition in Theology, Piety, and Music 4 credits. NP. Group B. Mystical theology runs like a red thread through the history of German theology and piety and has had a significant impact on musical compositions from the Middle Ages to the early modern period. Mystics have reflected on music as a path to the divine, and musicians have used mystical texts for their compositions. The course traces the mystical tradition in Germany from Hildegard of Bingen, who was both a composer and one of the leading mystics of her time, to Johann Sebastian Bach, whose libretti are drenched with mystical imagery. Students study German mysticism and selected figures with attention to historical contexts and influences. The course is open to both music and divinity students. No formal background in music is required. Markus Rathey, Bruce Gordon

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. It is therefore my goal to present various ways of analyzing non-tonal music. I talk about a range of tools, 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 touched upon, and we visit selections from The Oxford Handbook of Neo-Riemannian Music Theories. We also read, among other analyses, David Lewin’s Musical Form and Transformation. The main goal of the course, however, is to develop our own ways of thinking about and understanding contemporary music. So while readings of existing analyses and methods for analysis prove 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 piece to piece, but within a single work. Hannah Lash

MUS 629b, Sonatas for Violin and Piano by Mozart and Beethoven 4 credits. NP. Group B. This course addresses the shifting roles of violin and piano in an insufficiently known body of music literature. Focus is placed on issues of musical language, including harmony, form, and affect. Attention is also given to facets of performance such as tempo and articulation, and a range of recordings is studied to experience alternative interpretive approaches. Light readings include Agawu, Rosen, Marty, and Kolisch. Violinists and pianists particularly are encouraged to participate, but the course is open to all interested students. Michael Friedmann

MUS 645b, Modernism and Anti-Modernism in Twentieth-Century Music 4 credits. NP. Group B. A survey of major writings of twentieth-century aesthetics and philosophy—those that have championed modernism, those that have opposed it, and those that have sought to overcome it—and their relationship to masterpieces of the period. The former are read to understand better the sensibilities that informed the latter. In-class presentations based on readings and repertory, midterm, and final papers on relevant topics of students’ choosing. 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 850a, 851b, Seminar for Master of Musical Arts Candidates NP. Group B. To be elected for a maximum of three terms and 16 credits, normally during the last three terms of residency, for 4 credits, 8 credits, and 4 credits respectively. An introduction to the problems and methodology of musicology and music theory. The course familiarizes the student with the work of current musicological research and provides an opportunity to develop a thesis topic and present the results of the thesis to the seminar. Required of all M.M.A. candidates. Michael Friedmann, Robert Holzer

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. Faculty

[MUS 853a, D.M.A. Seminar II 4 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. Not offered in 2014–2015]

[MUS 854b, D.M.A. Colloquium 8 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, which is normally due the last Friday of March; public presentations take place in April. D.M.A. qualifying oral examinations take place at the end of this term. Not offered in 2014–2015]

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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 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 578a, Music, Service, and Society 4 credits. NP. Group C. What is the role of musicians in public life, both on and off the concert stage? How can institutions of music play new roles in forming civil society and vibrant communities? Can music change the life conditions of people living in political or social oppression? In the beginning of the twenty-first century, many arts organizations are struggling to survive and prove their relevance to contemporary life. Meanwhile, artists have long been credited for having meaningful impacts on society. In this class, we explore four 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, education as a strategy for positive social change, and examples of public service as a central thread in a contemporary musician’s career. Enrollment limited to twenty. Sebastian Ruth

MUS 621a, Careers in Music: Creating Sustainable Careers in the Arts 2 credits. NP. Group C. This course teaches the entrepreneurial skills required to create sustainable careers in the arts, including developing a positive mindset, articulating your artistic identity, career planning, financial and project planning, time management, branding, marketing, networking, communications skills, and public speaking. Course requirements include a project, weekly readings and assignments, and a career portfolio consisting of Web site materials, brand statement, elevator speech, career plan, and financial plan. The class combines instruction with group discussions and coaching on the project and assignments. Enrollment limited to fifteen. Preference given to M.M.A. and second-year M.M. candidates. Attendance is mandatory with one excused absence. For permission to enroll, please e-mail the instructor with the following information: instrument, degree, and year of graduation; confirmation that you can attend all class sessions with one excused absence; a short statement of your reasons for wanting to take this class and how you might contribute to it, including possible topics for your project; and any previous leadership and/or entrepreneurial experience. 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

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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 2014–2015 (4 credits each term).

MUSI 549b, Schenkerian Perspectives in Structural Analysis Group A. Ève Poudrier

MUSI 697b, Proseminar: Ethnomusicology Group B. Michael Veal

MUSI 698a, Proseminar: Theory Group A. Patrick McCreless

MUSI 720a, History of Theory I Group A. Nathan Martin

MUSI 806b, Philippe de Vitry and the ars nova Group A. Anna Zayaruznaya

MUSI 816a, Materials of Music Research Group C. Rebekah Ahrendt

MUSI 828b, Late Beethoven Group B. James Hepokoski, Daniel Chua

MUSI 832a, Gregorian Chant: Past and Present Group B. Henry Parkes

MUSI 837a/DRAM 406a/FILM 804a, Opera, Media, Technology Group B. Gundula Kreuzer

MUSI 909b, Arts of the Fugue Group A. Daniel Harrison

MUSI 952a, Metric States and Syntaxes Group A. Richard Cohn

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