Graduate Courses of General Interest


Spring 2022

Visit BuckeyeLink for the most up-to-date course information in Class Search.

Music Education

7761 Principles of Music Learning
3 credits — Rick Palese
Analysis of the learning process in music as related to problems of music instruction in the public schools.

6895 Technology in Music Teaching and Learning
2 credits — Margaret Young
How does technology enhance and disrupt teaching and learning opportunities for musicians? How can we analyze teaching and learning with technology? How can we apply the frameworks used to describe effective teaching with technology in other disciplines within our classrooms, lessons, and practice rooms? These are a few of the questions we will explore in this seminar which will meet synchronously online this spring.

Music Entrepreneurship 

5591 Career Development in Music 
3 credits — David Bruenger 
Introduces music majors in performance disciplines to the fundamental structures, processes and practices of music markets: the places — both actual and mediated — where musicians, audiences and economic opportunities converge.
     Topics include both commercial and not-for-profit arts sectors; audiences and audience behavior; the impact of digital technologies and media on music creation and consumption; branding, advertising and promotion; copyright issues for performers; funding and financial planning; educational outreach and community engagement. 
     Fulfills the Enterprise requirement for the Bachelor of Music in Performance – Brass, Harp, Percussion, Strings or Woodwinds. Meets in hybrid modality in Spring 2022: in-person on Tuesdays and online on Thursdays.


( * Undergraduate enrollment under equivalent 4555 number)

5649 Western Art Music II: 1870-present
2 credits — Arved Ashby
A chronological survey, focusing on instrumental repertory and genres, and attendant issues. MM students are particularly encouraged to enroll. Repertory will be tailored to the needs of enrolled students. Pieces discussed — Brahms: Symphony No. 1; Tchaikovsky: Swan Lake; Strauss: Also sprach Zarathustra; Schoenberg: Verklärte Nacht; Mahler: Symphony No. 5; Debussy: La Mer; Stravinsky: Petrushka; Janacek: Mladi; Berg: Violin Concerto; Barber: First Essay for Orchestra; Tippett: Concerto for Double String Orchestra; Copland: Billy the Kid; Ellington: Black, Brown and Beige; Piazzolla: Milonga, Muerte, y Resurrección del Angel; Bartók: String Quartet No. 6; Price: Violin Concerto No. 2; Messiaen: Oiseaux Exotiques; Stockhausen: Gruppen; Shostakovich: String Quartet No. 7; Pärt: Tabula Rasa; Feldman: Why Patterns?; Andriessen: Disco; Gubaidulina: Rejoice!; Ligeti: Piano Concerto; Schnittke: Symphony No. 7; Uri Caine: Urlicht/Primal Light.

6645 (online) Music's Meanings
2–3 credits — Katherine Graber
An exploration of ways that music conveys meaning, for instance through signs and topics, and through modeling emotion.

* 6786 Music Research and Bibliography
3 credits — Alan Green
Survey of the methods and materials for conducting research projects in music in today's interdisciplinary online environment.

* 7780.22 Andean Music Ensemble
0.5–1 credits — Michelle Wibbelsman
Learn to play and perform music from Bolivia, Peru, Ecuador, Chile, Colombia and Argentina. The course explores various musical genres within the Andean region. Students study techniques and methods for playing Andean instruments and learn to sing in Spanish, Quechua and Aymara.
Visit Andean Music Ensemble

8950 Musicology Research Seminar: Ethos and Affect
3 credits — Graeme Boone
Merriam-Webster defines ethos as "the distinguishing character, sentiment, moral nature, or guiding beliefs of a person, group or institution," and affect as "a set of observable manifestations of an experienced emotion." We will study prominent music-historical manifestations of these terms, going back to Antiquity and up to the present day, in order to understand why and how they have mattered to musicians and to those who think or write about music. We will then consider the conditions (real or potential) of their applicability to different musics today. A principal goal of the course will be to reflect upon the particular kinds of agency these terms can evoke in music and its cultures and environments, and to analyze specific musical recordings or performances in relation to these agencies. Students will be expected to develop their own individual research projects, involving the musical genres, styles or cultures of their choice and leading to a significant final paper.


7829.03 Compositional Modeling and Musical Allusion
3 credits — David Clampitt
Model composition has a venerable tradition in composition pedagogy, but the premise of this course is that it served as a (usually disguised) basis for finished works. Questions of musical quotation, allusion, and influence arise as corollaries of the principal subject.

7829.05 Esoteric Musical Modernism
3 credits — Anna Gawboy
As the philosopher Glen Alexander Magee remarked, esotericism and occultism “constitute the hidden intellectual history of the West, running like a dark thread through the fabric of the more conventional intellectual history we all have been taught.” This class unveils the secret history of esoteric musical modernism in the twentieth century. Students will relate esoteric philosophies to the sounds, theories, and performance practices of figures such as Heinrich Schenker, Arnold Schoenberg, Alexander Scriabin, Maud MacCarthy, Henry Cowell, Ruth Crawford, John Cage, Sun Ra, Alice Coltrane and Anthony Braxton. Topics will include organicism, Orientalism, scientism, vibration theory, mythology, as well as esoterically-informed philosophies of artistic creation, performance and reception. Classwork will combine close reading of primary sources, listening and discussion.