Autumn 2025
Music Education | Music Theory | Musicology
Visit BuckeyeLink for the most up-to-date course information in Class Search (SIS).
Music Education
MUSIC 7838 — Music Psychology
3 credits
TH 4:10–6:45 p.m.
Instructor: Eugenia Costa-Giomi
Overview of the field known as psychology of music. The leading questions of the course center on the perception and cognition of music and how our minds and bodies construct, experience, and respond to music. We will discuss the psychoacoustical basis of sound, the differences between sound communicative systems including music and language, the evolutionary function of music, the effects of music engagement on behavior, the development of music skills throughout the lifespan, the process of music enculturation, and the interpretation and creation of musical structure and meaning in the contexts of listening, learning, composing, and performing.
Music Theory
MUSIC 7829.05 — Special Topics in Music Theory: "Musical Topic Theory"
W–F 2:20–3:40 p.m.
Instructor: David Heinsen
This seminar is centered on the study and analytical application of topics, i.e., musical signs that reference genres, styles, and types borrowed from different contexts. In this course, we will examine foundational texts of the field in addition to more recent literature that interfaces topic theory with other theoretical approaches (performance practice, cognition, schema, narrative, corpus studies, etc.), thinking critically about the arguments and issues under discussion. We will also apply these approaches to a wide variety of repertoire (including concert, popular, film, and video game musics), and learn how to identify topics, understand the meanings that they bring to a musical work, and develop aesthetically warranted interpretations.
MUSIC 5622 — Theory and Analysis: 19th Century
Graduate section (36937)
W–F 4:10–5:05 p.m.
Instructor: David Heinsen
This upper-level course focuses on the analysis of instrumental and vocal music of the Western European tradition from the 19th century. Students will engage with representative works through their formal, harmonic, rhythmic, and voice-leading design, while thinking critically about the implications of a work's structure on its potential meanings. Course readings will introduce students to theoretical concepts in semiotics, hermeneutics, musical narrative, and text-music relations. In-class activities and assignments will have students apply these concepts through analysis and interpretation—with the ultimate goal of understanding a 19th-century musical work through both structural and semantic lenses.
MUSIC 5801 — Analysis of Video Game Music
Graduate section (39635)
Tu–Th 3:55–5:15 p.m.
Instructor: Jeremy Smith
This course focuses on the theory and analysis of video game music, focusing on topics such as functions of game audio, interactivity and immersion, game history and technology, comparisons between game music and film music, musical meaning and tropes, genres and styles, as well as fandom, song covers, and nostalgia. Each week students will read articles or book chapters and analyze some video game music in relation to the weekly topic. We will engage directly with video game music through close listening, watching others play games, and playing games ourselves.
Musicology
MUSIC 6672 — Introduction to Ethnomusicology
Seven-week course — Session I
3 credits
Tu–Th: 2:20–3:40 p.m.
Instructor: Katie Graber
This course is a historical introduction to the ways scholars have studied “world music.” Beginning with Comparative Musicology in the late 19th century, the course moves through successive periods of Ethnomusicological disciplinary orientations and cross-disciplinary affiliations to the present; and, more globally, from the colonialist foundations of (ethno)musicology to the recent decolonial critiques of the discipline(s). The course aims to give students a broad overview of the methods, theories, topics, people, and places that have defined “Ethnomusicology” over (roughly) the past 150 years.
MUSIC 8886 — Theories and Methods
Seven-week course — Session II
3 credits
Tu–Th: 2:20–3:40 p.m.
Instructor: Katie Graber
This course is an intensive and immersive seminar on current trends, directions, ideas, and orientations in ethnomusicology. In this class, students will read, reflect on, and discuss a series of recent monographs in the discipline, books which challenge, reimagine, and seek to further develop (or critique) what it means to do a variety of musical traditions around the world today.
MUSIC 8950 — Historical Methods for Studying the Performing Arts
3 credit hours
M 12:55–3:40 p.m.
Instructor: Danielle Fosler-Lussier
This course takes a hands-on approach to accessing and interpreting performing arts of the past. We will use a variety of primary sources, including written and audio sources from archives, newspapers and other media. We will become familiar with old and new methods historians now use for analyzing and showcasing their data, including digital humanities strategies and tools. We will examine and practice writing for public and scholarly audiences. By the end of this course students will be able to plan a historical research project; find relevant source material; and use that source material to build a convincing historical argument that serves readers well.
MUSIC 6895 — Colloquium in Musicology
M 3:55–5:45 p.m.
Instructor: Katie Graber
Musicology Student Colloquium is a repeatable 2-credit course for graduate students to develop musicological research, writing, and pedagogy. This workshop is based around the Ohio State Lectures in Musicology series and other topics of interest to participants. In conversation with the instructor, students will define their own pedagogy or writing projects, such as teaching statements, syllabus development, grant proposals, conference presentations, or articles. Students will engage in peer review and discussion about recent theories, methods and writing styles in music scholarship and teaching.
MUSIC 8850 — Performance Practice
Tu–Th: 12:45–2:05 p.m.
Instructor: Graeme Boone
Music 8850 is a graduate-level course, intended for master's or doctoral students who have an interest in historically-informed performance practice. Following the emphases of performance education in the School of Music, the course is oriented to classical-music repertories in the Western historical tradition, though we explore other areas of music (including music theater, popular music, folk and ethnic music, world music) depending on student interests and on our available time. It tends to privilege the lesser known, earlier historical eras (Antiquity to the 19th century), rather than the most recent ones (20-21st centuries) though students are free to pursue research in their areas of interest.
The course experience is grounded in reading, discussion, research, and presentation. Students are expected to study the assigned readings, culled mostly from two textbooks, but also from monographs, journal articles, historical treatises, and other sources, and they should be prepared to discuss them in class. In addition, students are each assigned a few focused topics for presentation, which require research and thoughtful organization; these include one presentation on a historical treatise and one on a historical instrument, vocal practice, or other topic of the student's choice. Finally, while there will be no tests in the course, students are expected to write a research paper of at least 15 pages’ length, based on a serious investigation into some concrete aspect of historical performance practice. Due at the end of term, this paper should display a firm grasp of the topic, including the relevant modern and historical bibliography. It is understood that students will have variable or limited knowledge of foreign languages, which affects research, bibliography, and scholarship; and that online access to research sources is not always possible. As instructor, I am there to help with these as other course-related issues.
MUSIC 7780.20 — African Performing Ensemble
T: 5:30–6:50 p.m.
1 credit
Prereq: Admission by audition, or permission of instructor.
Repeatable to a maximum of 12 credit hours or 12 completions.
Instructor: Jason Buchea, PhD candidate
Ensemble dedicated to performing African-derived music.
SPA/MUS 7780.22 — Andean Music Ensemble
W: 5:30–7:35 p.m.
1 credit
Instructor: Michelle Wibbelsman, Spanish and Portuguese
This course embraces Andean traditions of participatory music making to learn how to perform music from Bolivia, Peru, Ecuador, Chile and Argentina; sing in Spanish, Quechua, Kichwa and Aymara; explore Andean musical and performance aesthetics; and learn about the cultural background and social significance of the songs. We experience instruments like zampoñas or sikuris (Andean panpipes), tarkas (Bolivian festival flutes), quenas/kenas (notched mouthpiece flutes), charangos (Andean string instruments), guitars, bombo (Andean bass drum), chakchas (goat hooves rattles), cajón peruano and quijada (Afro-Peruvian percussion). There are no auditions and no requirements for prior musical experience or language proficiency.
ARTSSCI 6000 — Career Exploration for Graduate Students
1 credit
First seven-week session: Tu 9:10-10:55 a.m.
Second seven-week session: M 9:10-10:55 a.m.
Instructor: Danielle Fosler-Lussier
18th Ave. Library, room 270
This course introduces strategies for discovering a variety of career paths; assessing how a job might fit one’s interests, skills, and values; cultivating networks; and entering a profession. The course is suitable for graduate students at any stage, with any career goal. Weekly assignments required, graded S/U.
Spring 2025
Music Education | Music Theory | Musicology | Music studies outside the School of Music
Visit BuckeyeLink for the most up-to-date course information in Class Search (SIS).
Music Education
Music 7760 — Basic Concepts in Music Education
T 4:10–7 p.m. | Timashev N510
3 credits — David Hedgecoth
The principles of music education and of the educational and cultural objectives derived from related disciplines which give direction and purpose to the music education program. Topics include historical foundations of music education; philosophy and advocacy for music education; curriculum development and design; issues of social justice and democracy in music education; and culturally relevant pedagogy, culturally sustaining pedagogy, and other similar epistemological and pedagogical frameworks. Prereq: 4586 (586) or 4587 (587), or equivalent. Not open to students with credit for 760.
Music Theory
Music 5621 — Theory and Analysis of the 17th–18th Century (Graduate section 34979)
TR 4:10–5:05 p.m.
Instructor: Matthew Bilik
Analysis of representative works from the 17th–18th century, introducing relevant theoretical concepts.
Music 7829.05 — Analysis of Timbre
TR 2:20–3:40 p.m.
Instructor: Sasha Drozzina
Timbre has become increasingly important as an organizing and expressive principle of musical works but can prove to be difficult to define. The seminar confronts the challenges of defining and conceptualizing timbre through an overview of scholarship on the theory and analysis of timbre. The course bibliography includes music theory, musicology, music cognition, and sound studies. Students will learn and apply strategies for analyzing timbre in various genres (such as classical, pop, and more). Coursework includes weekly readings, listening and analysis, short written assignments, in- class presentations (individual and group), and a final analytical paper. The ultimately goal in this seminar will be to embrace the concept of timbre in all its complex parameters.
Music 8818 — Theories of Heinrich Schenker/Linear Analysis
MWF 4:10–5:05 p.m.
Instructor: Matthew Bilik
This course investigates tonal music from the Baroque through the twentieth century (1750–1950) through the lens of linear analysis, a type of analytical technique made famous by Heinrich Schenker. Students will absorb and demonstrate the principles of linear analysis, such as long-range formal and tonal structure, through daily analysis of works as well as classroom discussions and presentations. By the end of the semester, students will be able to illuminate — through harmonic/melodic reduction, etc. — the different levels of structure that a composer creates. Thinking about music in this manner offers windows into the composition process itself and ideas for more effective performances.
Music 8840 — Music, Movement, Image
MW 2:20–3:40 p.m.
Instructor: Anna Gawboy
This graduate course explores a range of strategies for the analysis of historic and contemporary audiovisual compositions. It examines how musical attributes such as temporality, rhythmicity, textural differentiation, development, repetition, hierarchy, and large-scale form are transferred to the visual domain and surveys the spectrum of relationships that can be established between the musicalized moving image and sounding music. Discussions will address considerations of genre, artistic production, performance, metaphor, and cognitive perception. Students are encouraged to adopt a broad view of possible applications, which could include visual music, dance and other forms of embodied musical gesture, performance painting, audiovisual installations, pop concert lighting, musical fountains, musical animations, and/or musical fireworks displays.
Musicology
Music 5651 — Opera History
TR 12:40–1:35 p.m.
2 credits — Katie Graber
This course will focus on the cultural context and reception of opera in the European tradition, mainly in U.S. performance contexts (though students will be supported in learning about other contexts if they desire). We will pay particular attention to the representation of race, ethnicity, class, gender, and sexuality on and around the operatic stage, with weekly topics such as musical exoticism, perceptions of opera as high/low art, and composer diversity. Weekly assignments will include watching and researching operas and reading scholarly articles, and final projects will be a choice of a research paper or assessments of a number of new operas.
Music 6895 — Ohio State Musicology Student Colloquium
Seminar Section 020 (37675)
2 credit hours, S/U grading
M 3:55–5:45 p.m.
18th Ave. Library, Room 205
Instructor: Katie Graber
Musicology Student Colloquium is a repeatable 2-credit course for graduate students to develop musicological research, writing, and pedagogy. This workshop is based around the Ohio State Lectures in Musicology series and other topics of interest to participants. In conversation with the instructor, students will define their own pedagogy or writing projects, such as teaching statements, syllabus development, grant proposals, conference presentations, or articles. Students will engage in peer review and discussion about recent theories, methods and writing styles in music scholarship and teaching.
Music 7742 — Identity Development in 19th- and 20th-Century Music
Class no. 37018
MWF 12:40–1:35 p.m.
Timashev N310
Instructor: Arved Ashby
This is a survey of music pieces and aesthetics from about 1800 to the early 2000s: instances of creation, practice, and theory that demonstrate developing Euro-American concepts of musical identity. (We won't concentrate on the specific identities themselves, the actual demographics, but rather on some important ways that music and musicking have modelled identity and identity-expression.) Such a survey has to begin with literary influences on musicians. There originated in Europe ca. 1800 an impactful style of musically embodied subjectivity and self-understanding, as influenced in large part by early Romantic literature: for instance in the literary-musical cults of individual heroism, self-actualization, and “sensibility” that are still current today. These self-reflexive paradigms influenced theme-based composition and extramusical representation in Beethoven, Berlioz, Liszt, Wagner, and others.
Moving into the 20th century, these developing dualities of self-vs-other drove modernist musicians (Schoenberg, Stravinsky, Berg, Boulez, Ruth Crawford) to certain ideas of objectivity and universality, and nationalist and American populist musicians (Ives, Beach, Gershwin, Copland, Bernstein) to notions of local subjectivity. Later paradigms that we'll examine in musical-conceptual terms are post-nationalism, post-colonialism, feminism, globalism, and African-American separatism (the Black Panther Party demanding in 1966 an educational system cultivating "a knowledge of self" in order to allow "[the] chance to relate to anything else"). Following these last currents in the later 20th and early 21st centuries, we will focus on music by Pauline Oliveros, Nina Simone, Steve Reich, Prince, Silvestre Revueltas, Tania León, Keith Jarrett, and Ryuichi Sakamoto.
Music 8950 — Seminar in Musicology: The Grateful Dead in Music, Myth and History
Class no. 30742
WF 3:55–5:15 p.m.
18th Ave. Library, room 205
3 credits — Graeme M. Boone
In this seminar we shall study the Grateful Dead as musical, cultural, and historical icons of the later 20th century. Our goal is to explore the formation and evolution of the band and its music, the contexts informing its career and reception, and its relationship to the development of jam-band culture since the 1980s. As a student in the course, you will be expected to participate in class based on assigned readings and listenings, as well as your own musical experiences; you will also give occasional presentations, and develop independent research on a topic of your own interest, in view of a substantial final paper.
Music studies courses outside the School of Music
ARTSSCI 6000 — Career Exploration for Graduate Students
Spring 2025 (First seven-week session)
R 9:10–10:55 a.m.
18th Ave. Library, room 270
Instructor: Danielle Fosler-Lussier
This one-credit course introduces strategies for discovering a variety of career paths; assessing how a job might fit one’s interests, skills, and values; cultivating networks; and entering a profession. The course is suitable for graduate students at any stage, with any career goal. Weekly assignments required, graded S/U.
COMPSTD 8200 — Interdisciplinary Learning Lab 2
Class No: 284067
R 2:15–5 p.m.
Hagerty Hall 451
Instructors: Ryan Skinner (skinner.176) and Barry Shank (shank.46@osu.edu)
The Comparative Studies Interdisciplinary Learning Laboratories are two-part courses that seek to give participants opportunities to engage in sustained interdisciplinary research, to workshop their research projects in conversation with one another, and to share their projects with broader publics. This year’s seminar provides an opportunity for students to work together to design and produce musical performances that engage audiences both on and off campus. Goals of these performances include testing principles that have been examined in CS 8100 for their real-world applicability and providing innovative performance opportunities for musicians (amateur and professional).
NOTE: Having taken Autumn 2024's COMPSTD 8100 is not a prerequisite for enrollment in Spring 2025's COMPSTD 8200.
KOREAN 5455 — Interdisciplinary Courses in Korean Art, Music, Film, and Theatre
MW 2:20–3:40 p.m.
Instructor: TBA
Interdisciplinary course in the history and criticism of Korean art, music, theatre, martial art, healing art and film with reference to their implications to humanity.
CHINESE 5474 — Chinese Opera
M 2:15–5 p.m.
Instructor: Marjorie K. M. Chan
Introduction to Chinese opera as traditional culture, dramatic literature, and performing art; selected opera scripts and stage performances from Beijing opera, Kunqu, and regional operas; illustrated discussions of various aspects of the theater.
Autumn 2024
Music Education | Music Theory | Musicology | Arts and Sciences
Visit BuckeyeLink for the most up-to-date course information in Class Search (SIS).
Music Education
Music 5664 — School Wind Band Repertoire
Tue/Thu 9:35–11 a.m.
2 credits — Daryl Kinney
Examines wind band repertoire appropriate for study in elementary, middle and high school band programs and develops strategies for teaching these pieces. Prereq: Enrollment in Music major. Not open to students with credit for 664.
Music 8875 — Psychological Factors in Music Education
Thu 4–7 p.m.
3 credits — Eugenia Costa-Giomi
A study of the psychological factors, theory, and research in the musical development of children and adolescents with implications for school music education programs. Prereq: 7761 (761). Not open to students with credit for 875.
Music 8879 — Music in Higher Education
W 4:10–6:48 p.m.
3 credits
The role of music in higher education historically and in contemporary times, including its philosophical bases, degree programs, and organizations. Prereq: Grad standing. Not open to students with credit for 879.
Music Theory
Music 5620 — Extended Tonality
MF 4:10–5:05 p.m. TMV N504
2 credits — David Heinsen
This course examines concert and popular repertories from the late nineteenth century to the present that challenge the norms of tonality. Students will learn to apply chromatic and post-tonal analytical techniques to selected compositions and works of their own choosing, as well as read and critically engage with relevant scholarship.
Music 5802 — Analysis of Popular Music (NOTE: 36532 is the section for graduate students)
Tue/Thu 3:55–5:15, TMV N310
3 credits — Jeremy Smith
This course provides an overview of scholarship on the theory and analysis of popular music, broadly construed. Students will learn and implement strategies for analyzing form, melody, harmony, lyrics, rhythm, meter, and timbre in various genres (such as pop, rock, metal, hip-hop, EDM, funk, punk, country, and more). There will be readings and pieces assigned for weekly listening.
MUSIC 7829.05 — Musical Schemata
MWF 12:40–1:35
3 credits — David Heinsen
This seminar is centered on the study and analytical application of musical schemata, i.e. stock phrases or patterns that commonly occur within specific compositional styles. We will examine foundational texts that study schemata in 18th-century Galant practice and partimenti, in addition to recent musicological and theoretical work on popular, jazz, film, and global vernacular repertoires. Beyond thinking critically about the issues and repertoire under discussion, students will learn to identify schemata and build musical corpora for analysis.
Musicology
Music 5649 — Western Art Music 2
MWF 12:40–1:35 p.m., TMV N504
2 credits — Arved Ashby
A survey focused on repertory and historical issues, with principal emphasis on instrumental genres (e..g, symphony, concerto, quartet, ballet, symphonic poem, film score). We'll look at and listen to music from 1870 to the present: Brahms to Thorvaldsdottir, by way of Mahler, Ellington, Barber, Price, Messiaen, and others.
Music 6673 — Introduction to Musicology
First 7-week session, WF 2:20–3:40 p.m.; 18th Ave. Library 270
2 credits — Danielle Fosler-Lussier
Students learn about the disciplinary origins of musicology as an academic field of study, grapple with key conversations and social forces that have shaped the discipline’s practices and values; and engage with contemporary texts in our field. Students will be introduced to recent currents of intra- and inter-disciplinary critique in musicology and its companion disciplines in music studies, and consider the work of musicology beyond the academy.
Music 6895 — Musicology Student Colloquium
Seminar Section 020 (37675)
Mondays 3:55–5:45 p.m.
2 credits, S/U grading — Katie Graber
Musicology Student Colloquium is a research, writing and musicology pedagogy workshop based around the Ohio State Lectures in Musicology series, and other topics of interest to participants. Students will define their own pedagogy or writing projects (syllabus development, teaching statements, grants, conference presentations, articles etc.) and will engage in peer review and discussion about recent theories, methods and writing styles in music scholarship and teaching.
Music 8885 — Fieldwork in Ethnomusicology
Tue/Thu 2:20–3:40 p.m., 18th Ave. Library 205
3 credits — Brian Harnetty
This course serves as an introduction to a wide range of research methods employed in the anthropology of music and its companion disciplines, including multi-sensory inquiry, sound recording, visual ethnography, oral history, archival study, multi-sited research, close listening, and textual criticism. Students will also engage in a series of hands-on applications of selected methods to explore—through sonic, visual, and written representation—the possibilities and constraints of (ethno)musicological work in the field.
Music 8886 — Theories and Methods in Musicology
Second 7-week session, WF 2:20-3:40 p.m. Room TBD
3 credits — Danielle Fosler-Lussier
Seminar on current trends, directions, ideas, and orientations in Musicology. In this class, students will read, reflect on, and discuss new books in music studies, one book per week, and learn to write a substantive book review. The chosen texts cover a wide range of topics and support a conversation about what it means to conduct musicological research today. Students who already have credit for Music 8886 may enroll in this course because the content is all new each time.
Arts and Sciences
ARTSSCI 6000 — Career Exploration for Graduate Students
First 7-week session, in person: Thurs. 9:10–11 a.m., Music/Dance Library 270
Second 7-week session, online asynchronous: Wednesdays 9:10–11 a.m., Zoom
1 credit — Danielle Fosler-Lussier
This one-credit course introduces strategies for discovering a variety of career paths; assessing how a job might fit one’s interests, skills, and values; cultivating networks; and entering a profession. The course is suitable for graduate students at any stage, with any career goal. Weekly assignments required, graded S/U.
CS 8100 — Musical Critique/Musical Practice
Tue/Thu 3:55–5:15, Hagerty 451 Seminar Room (Note: This is part one of a two-part sequence, to be followed in SP by CS 8200)
3 credits — Ryan Skinner and Barry Shank
CS 8100/8200 is a two-part year-long course that seeks to give participants opportunities to engage in sustained interdisciplinary research, to workshop their research projects in conversation with one another, and to share their projects with broader publics. This year’s sequence develops from studies of critical cultural musicology to the design and delivery of a series of performances from local and regional musicians whose work might be said to engage and embody some of the themes that we have read about. During the first semester (Au24), students will read a series of works that engage classic and current debates in critical cultural musicology along with some works in performance or sound studies more generally.
Summer 2024
Visit BuckeyeLink for the most up-to-date course information in Class Search (SIS).
Music Education
Music 5591: Career Development in Music
3 credits — David Bruenger
8-week class: June 3–July 26
Online with mandatory synchronous (online) meetings on Wednesdays 9:10–10:45 a.m.
Do you want to understand how to be an entrepreneurial musician? To guide your students on a path of professional development that leads to creating artistic, social, and economic value as musicians? Career Development in Music looks at the processes and practices of music markets. The places—physical and mediated—where musicians, audiences, and opportunities converge. Topics include commercial and not-for-profit arts sectors; the impact of digital technologies and media on music creation and consumption; branding, advertising, and promotion; copyright issues for educators and performers; funding opportunities; educational outreach and community engagement.
Music 7754: Midwest Summer String Teachers Seminar
2 credits — Robert Gillespie, Heather Lofdahl and selected guest faculty
3-week in-person workshop: July 7–13, Sunday–Saturday
Intended for professional educators, this workshop is designed to help participants develop pedagogical and performance skills for teaching strings in the classroom. Session topics include developing secondary string instrument performance skills, rehearsing beginning through advanced orchestras, conducting technique, curriculum and repertoire, instrument repair, assessment, creativity, and classroom management. Clinicians are expert string pedagogues from around the country.
Music 8872: Qualitative Research in Music
3 credits — David Hedgecoth
8-week class: June 3–July 26
In-person meetings: Tue/Thu 2-4:20pm
This course will examine principles of qualitative research design in the social sciences and their application to music teaching and learning. Students will learn qualitative research techniques and will design (and potentially conduct) a research study using these techniques. In consultation with the instructor, students will determine an appropriate culminating project for the semester’s work. Depending upon the student’s program of study, previous research experiences, and professional aspirations, several possibilities exist: designing an action research study to be implemented in a school setting; conducting a series of pilot exercises in order to develop techniques and refine the focus of a later study; developing a research proposal for a qualitative study; or conducting a project that will result in publication or presentation.
Spring 2024
Visit BuckeyeLink for the most up-to-date course information in Class Search (SIS).
Music Education | Music Theory | Musicology | Performance | Arts and Sciences
Music Education
Music 8895 — Music Seminar: Academic Writing
Thu 4:10–6:48 p.m., 1–3 credits
Academic Writing: Planning, Writing, Submission and Review process: Journal articles, Proposals, Grants and Dissertations. This course is graded S/U.
Music Theory
Music 4500.01 — Review of Music Analysis Techniques
In-person: 8–8:55 a.m.
2 credits — Matthew Bilik
Review of selected topics in music theory; intended for beginning graduate students in music.
Music 5623 — Theory and Analysis: 20th Century
In-person: MW 4:10–5:05
2 credits — Ann Stimson
In this course, students will study recent and historical approaches to the analysis of twentieth-century Western classical music. Coursework will combine score study, listening, scholarly reading, and writing analytical papers.
Music 5801 — Theory and analysis of video game music
In-person: Tue/Thu 3:55–5:15
3 credits — Jeremy Smith
Topics include the functions of game audio, interactivity and immersion, compositional techniques, game history and technology, comparative media, intertextuality, topic theory and tropes, genres and styles, as well as fandom, song covers, and nostalgia. Each week there will be assigned readings of articles or book chapters, and analysis based on in-class playing or watching others playing games.
Music 7829.05 — Special Topics: Musical Modernism in France and Its Influence
In-person: Tue/Thu 2:20–3:40
3 credits — Matthew Bilik
This course explores the emergence of musical modernism in France and the transmission of influence between Western countries regarding popular music/jazz styles and sound experimentation. We will begin by investigating musical innovations in and around France (in harmony, timbre, orchestration, etc.) and then examine their broader dialogue with modernism in Europe and America in the late nineteenth and early twentieth centuries, looking specifically at Debussy, Ravel, Milhaud and Gershwin. In class, we will engage with and evaluate past and present literature, as well as analyze scores and performances. Weekly assignments will also include prose writing and musical composition that place us in the shoes of composers of the time.
Music 8820 — Music Theory Pedagogy
In person: MW 2:20–3:40
3 credits — Anna Gawboy
This course is an introduction to the curricular considerations, materials and techniques related to teaching undergraduate music theory. Its primary objective is to prepare current graduate students to be future faculty. Students will learn to tailor curricula to individual institutions and student populations, evaluate commonly-used materials, plan a trajectory of student learning over the course of a term, and develop strategies to assess student learning. MUSIC 8820 fulfills the “Required Discipline-Based Teaching Course in Home Department” for the Graduate Certificate in College and University Teaching. This Certificate is ideal for music theory students who hope to expand their teaching credentials prior to going on the job market or for students in other areas of music who wish to be able to teach music theory in addition to their main area of expertise.
Musicology
Music 6645 (Music 4555.05) — Music's Meanings
Online, asynchronous
2 or 3 credits — Katie Graber
In this course we will explore a variety of approaches to how Western music (primarily, though not exclusively, art music) conveys meaning. Each week we will read theories about different ways music conveys meaning and discuss listening examples, focusing in particular on the capacity of music to allude to other aspects of human experience such as dance, narrative, drama, voice, and visual imagery. We will investigate related questions of how music evokes emotion through the use of representational conventions and expectations of genre.
Music 6786 — Music Research Methods and Bibliography
In-person: Tue/Thu 3:55–5:15
3 credits — Alan Green
This course is designed to help students acquire the knowledge and skills necessary for researching musical topics at the graduate level. Students will gain experience using library resources, research tools and online databases. They will become familiar with major periodicals and other specialized sources, including sources in their own areas of interest. Students will also explore critical editions of music and develop a better understanding of issues related to music editing.
Music 7740 — Music Before 1600
In-person: Tue/Thu 2:20–3:40
3 credits — Graeme Boone
This course provides an introduction to the advanced study of historical musicology through the lens of medieval and Renaissance music, together with a small number of initial readings in ancient music. In keeping with the spirit of the 7740 series as a whole, our approach will be topical rather than comprehensive: we will read articles and book chapters on specific research topics, which in turn will serve to evoke broader music-historical panoramas. It is understood that some students in the course may have already taken an introductory survey course in medieval and Renaissance music, while others may have not had any undergraduate courses on these topics. It is also understood that different students will have different kinds and levels of understanding, and that most students will not consider medieval and Renaissance music to be a focus for their future research careers. For that reason, while Music 7740 is not a musical or historical survey, it should help students to recall and anchor, as well as learn about and develop, that kind of knowledge.
Music 7780.20 — African Drum Ensemble
In-person — Tue 6:30–7:25
1 credit — Jason Buchea, Ryan Skinner
A great opportunity to meet people and build community, while immersing yourself in African culture through hands on engagement with its various drumming traditions!
Africa’s contribution to many of the world’s musical cultures has been undeniable, though often overlooked. From Brazilian samba, to Cuban salsa, to jazz, blues, hip-hop, and rock n’ roll in the US; the rhythms, melodies and spirit of African music are often credited as being a primary source. Now, virtually anywhere in the world, “African drumming” ensembles can be found, in schools and local communities, serving both as sites of diasporic (re)connection to the continent and as a tool of promoting cultural awareness of Africa. “African drumming” has also proven to be an effective model for building community by promoting close listening, group participation, and collective understanding.
In this class students will learn basic technique of Mande drumming instruments (Djembe and dunduns), and gain familiarity with the Mande drumming repertoires found across West Africa (Mali, Guinea, Burkina Faso, and Cote d’Ivoire, The Gambia, etc.). An emphasis will be placed on “groove,” and learning to collectively weave together interlocking drum parts, to create intricate polyrhythmic fabrics. Anyone on campus is welcome and encouraged to join, regardless of background, prior experience and skill level. We will have a place for you in this ensemble! The university does have its own collection of instruments, but students are welcome to bring their own.
Music 8950 — Musicology Seminar: Auto Theory
In person: Wed/Fri 3:55–5:15
3 credits — Arved Ashby
Genre-busting writer Maggie Nelson (The Argonauts, 2015) defines auto-theory as "autobiographical writing that exceeds the boundaries of the ‘personal.’” The purpose is not to “tell” your “story,” but to use the thick description of personal experience as well as existing critical or “intellectual” approaches. Auto-theory can help us “scholars” work through the existential crises of the 2020s — enable us to develop honest, intimate, and risk-taking tactics for negotiating our violent, divisive, lonely, cynical age. (In referencing Nobel Prize laureate Annie Ernaux, critic Adam Gopnik called her chosen mode of memoir as “perhaps the leading genre of our time… We feel a need for verifiable, or at least credible, personal history in a time when so much else seems constructed and untrustworthy.”) In this seminar, we will read auto-theory and memoir as we discuss the generalizable possibilities of individual experience and reconsider music as a humanist discipline in our post-truth era. Since auto-theory is a literary genre that seems incompatible with ethnography and the social sciences more broadly, we’ll assess the musical and aural possibilities of literary (writerly, authored) perspectives. Lastly, we’ll talk about future scenarios for academic publishing and examine the notion that musicality-informed writing can be a broad, nuanced, public, eminently readable, and indeed trustworthy line of work.
Performance
MUS 6895 — Wellness for the Performing and Teaching Pianist
Tue and Fri 1:50–3:10
3 credits — Lynn Singleton
This course is designed to provide students with the information and tools needed to promote physical and mental wellness throughout their performing and teaching careers. Topics of discussion will include the following: perspectives on health and wellness; theories of well-being; dimensions of wellness; biomedical vs. biopsychosocial models of health; dimensions of movement health; the science of breathing and its connection to regulating the nervous system; experiential anatomy of the musculoskeletal system; mechanics of the piano; historical perspectives of piano technique; biomechanics and physiology in piano playing; causes, types and treatments of common musculoskeletal injuries in pianists; principles of optimal alignment; adaptive strategies for small hands; guidelines for injury prevention; mind-body practices; mental health basics, including contributing factors to mental distress in college student musicians; mental health disorders; performance anxiety; creating a mental health toolkit.
Arts and Sciences
ARTSSCI 6000 — Career Exploration for Graduate Students
Online, 7-week session 1: Thurs. 9:10–10:50, Class no. 36595
In-person, 7-week session 1: Tues. 12:40–2:15, Class no. 36596
1 credit — Danielle Fosler-Lussier
This course introduces skills for discovering a variety of career paths; assessing fit; cultivating necessary skills and networks; and entering a profession. The course is suitable for graduate students at any stage, with any career goal.
AFAMAST 7754: Methodological Perspectives in African American and African Studies
In-person: Tue–Thu 12:45–2:05
3 credits — Jason Rawls
This course provides students with a critical introduction to qualitative and cultural research paradigms and methods within the field of African American and African Studies. This course will situate these within the narrower field of Hip Hop culture as a part of the African American Black music diaspora. In this course, students will learn the necessary skills to conduct high quality research that will be useful in the writing of theses, dissertations and eventually published works with Hip Hop sensibilities. The overarching purpose of this course is to facilitate students’ reflection on the philosophical, theoretical and ethical implications of these questions for research within African American and African Studies. Students will understand research methodology and research design. We will specifically approach methodological perspectives in African American and African studies from the mind of a Hip Hop producer who is “digging in the crates” to find archives of old music to sample and insert into a new creative work.