Course numbers preceded by a “»” are typically offered each academic year. Course numbers followed by a “T” are taught to mixed classes of undergraduates and graduates. Undergraduate students may register for graduate-level courses with the instructor’s permission.

»MHST 111 – Introduction to Musical Styles
Introduces students to a wide variety of musical styles, chronologically and geographically, through intense work on a few pieces in a seminar format.
Performance and repertory based projects; oral and written exercises; library project. (2 credits) Faculty

»MHST 117 – Introduction to Jazz History
Traces the evolution of the musical language that came to be called “jazz,” with attention to major styles and artists. Emphasis will be placed on aural analysis of jazz recordings and what to listen for in a jazz performance, including a study of rhythm section instruments and their roles in the various styles and the way jazz solos are constructed. Requirements include a research paper, midterm, and final exams, and periodic short papers on discussion questions based on reading and listening assignments. Not available to Jazz majors. (2 credits) Faculty

»MHST 221 – Survey: Music of Western Europe, c. 850-1750
The recorded history of music in Christianized Europe begins with the notation of sacred chant in the 9th century. The development of that repertory over the next several centuries laid the foundations on which the composition of music, sacred and secular, was based for generations. We will trace the changes in musical style that occurred over time, and consider the role that the principal institutions of musical patronage – Church, Court, and Theater – played in fostering those changes. Composers to be studied include Perotin, Machaut, Josquin, Palestrina, Monteverdi, Lully, Corelli, Bach, and Handel. There will be regular quizzes, a mid-term and final exam, and one written critique of an assigned reading. (3 credits) Smith

MHST 355 Improvisation: Composer and Performer at the Keyboard, 1700-1925
Examines the role of improvisation in Western music from the 18th to the 20th centuries, as reflected in the shifting relationship between composer and performer in keyboard music. Rather than customary emphasis on repertoire controlled by composers through notated scores, focus in this class will be on less well-known tradition of performer-controlled composition such as dance music, preludes, fantasias, variations, cadenzas, transcriptions, paraphrases, etc. Class materials include historic recordings, contemporary performance manuals and accounts, and recent scholarly literature. Students with relevant repertoire will perform pieces in class, along with occasional guests. Independent research projects will allow students to develop interests in particular forms, artists or techniques. (2 credits) Labaree

MHST 368 The Music Dramas of Wagner

Studies Wagner’s concept of Gesamtkunstwerk (total art work) as reflected in his music dramas and theoretical writings; their influence on the arts of the late 19th and early 20th centuries. (2 credits) Greenwald

MHST 373 Dies Irae: A History of the Requiem

This course traces the history of the Requiem from the Middle Ages to the 20th Century. Requiems to be studied include Gregorian Chant, Ockeghem, Schütz, Mozart, Berlioz, Brahms, Verdi, Fauré, Duruflé and Britten. Emphasis will be placed on the changing role of the church and the concepts of death and afterlife as illustrated in the music and text. Contextual works that focus on death will also be studied in each period. (2 credits) Handel

MHST 377 The World of Gustav Mahler

This is an in-depth exploration of Gustav Mahler’s music, life and artistic environment centering on his symphonies and lieder. We will study the symbiotic relationship between these two genres in Mahler’s oeuvre, focusing on selected symphonies and their lieder companions. These works will be examined from the perspective of manuscript sources, biographical, philosophical and programmatic background, interpretation and reception. A broader overview of the artistic climate of fin-de-siècle Vienna, its dominant artistic circles and trends, as well as social and political forces which influenced Mahler’s career and life will provide a context within which we will explore the artistic shifts in Mahler’s musical style after the turn-of-the-century. In a parallel manner, an attempt will be made to reflect on Mahler from the perspective of the 21st century: on the heterogeneity of his style and the broad spectrum of expression and references his music projects – elements which have paved paths taken by musicians, writers, and filmmakers as diverse as Stravinsky, Shostakovich, Mann, Britten, Visconti, Berio, Schnittke, Ken Russel and Uri Caine. (2 credits) Marković

MHST 418 – Ives and Bartok: Creative Musicologists
Examines the music of Ives and Bartók, with emphasis on its social and ethnic context. Frequent readings and listenings, with the goal of building a comprehensive view of their overall work, for each student. (2 credits) Heiss

»MHST 441 – Introduction to World Music
Studies the history, repertoire, performance practice, and cultural context of selected musical traditions. Music covered in the past has been drawn from traditions in Zimbabwe, Gambia, Ghana, Tunisia, Iran, India, Java, Bali, China, Korea, and Japan. Evaluation of student work is based on class participation, midterm exam, and final exam or term project and paper. (2 credits) Row

MHST 463 – Beethoven’s Fidelio

A study of Beethoven’s only opera Leonora/ Fidelio and of the social-cultural context in which it was composed and performed. The influence the French Revolution and revolutionary music—especially the operas of Luigi Cherubini—had on Beethoven will be considered in this half-semester course, as will the relationship between Fidelio and Viennese operatic traditions of Singspiel and opéra-comique. Grade based on in-class oral report, written essay on an assigned topic, listening quizzes. Note: course runs September 4—October 18, 2013. (1 credit) Smith

MHST 464 – Beethoven’s 9th Symphony

A close study of Beethoven’s Symphony No. 9 (“Choral”). Through analysis of the score and reading from the wealth of recent literature on the work, this half-semester course examines the sources of the Symphony’s enduring power of expression and studies the possible meanings embedded in its sounds. Grade based on in-class oral report, written essay on an assigned topic, listening quizzes. Note: course runs October 21—December 13, 2013.(1 credit) Smith

2013-05-02


I DON'T CARE MUCH ABOUT MUSIC. WHAT I LIKE IS SOUNDS. DIZZY GILLESPIE