Graduate Courses of General Interest


Spring 2022

Music Education Graduate Offerings

7761 Principles of Music Learning
Wednesday 4:10–7:05, 3 credits — Dr. 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
Monday 4:10–6:48, 2 credits — Dr. 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.

Autumn 2021

5622 Theory and Analysis: 19th Century
Monday/Wednesday 4:10–5:05, Hughes 316, 2 credits — Dr. David Clampitt
Study of representative 19th-century works from varied repertoires, from the perspectives of form, harmony and texture.

5636.01 Introduction to Electronic Music Synthesis
Tuesday/Thursday 11:30–12:20, online, 3 credits — Dr. Marc Ainger
Introduction to principles of audio engineering, sound synthesis and other media.

5637.01 Composition with Electronic Media 1
Time to be announced, online, 2 credits — Dr. Thomas Wells
Individual composition projects with electronic media. Prerequisites: 4535 and 5636.02. Repeatable.

5677.01 Multimedia for Musicians
Tuesday/Thursday 12:40–1:30, online, 3 credits — Dr. Marc Ainger
Sonic arts from compositional and performance perspectives.

6672 Introduction to Ethnomusicology (First 7-week session)
Tuesday/Thursday 2:20–3:40, 18th Ave. Library 270, 2 credits — Dr. Ryan Skinner
Organized as a historical survey, this course aims to give students a broad overview of the methods, theories, topics, people and places that have defined “Ethnomusicology” — in all of its various disciplinary guises — from the late 19th century to the present.

7770 Introduction to Research in Music Education
Thursday 4:10–7:05, Hughes 316, 3 credits — Dr. Daryl Kinney
A study of methods of research as applied to problems in school music. Research design, implementation, data analysis and interpretation within quantitative and qualitative methodologies will be emphasized.

8838.01 Topics in Music Cognition
Monday/Wednesday 2:20–3:40, online, 3 credits — Dr. Daniel Shanahan
Principles and methodologies of music cognition.

8850 History of Performance Practice
Tuesday/Thursday 9:35–10:55, 18th Ave. Library 270, 2 credits — Dr. Graeme Boone
Historical performance practices from the Middle Ages to the present day.

8886 Theories and Methods in Ethnomusicology (Second 7-week session)
Tuesday/Thursday 2:20–3:40, 18th Ave. Library 270, 2 credits — Dr. Ryan Skinner
This course serves as an intensive and immersive seminar on current trends, directions, ideas and orientations in the field of ethnomusicology. Students 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 (and, for some, undo) ethnomusicology today.

8895 Practices, Pedagogies and Philosophies of Teaching
Wednesday 4:10–7:05. Location to be determined — Dr. David Hedgecoth
In this course, we will explore the fundamental elements of effecting teaching: philosophical positioning, pedagogical values and delivery of instruction. We will also engage in field observations, course planning activities, and professional development modules that will serve students throughout their time on campus and beyond.

8950 Equalizing Music: Seminar in Musicology
Tuesday/Thursday 3:55–5:15. Location to be determined. 3 credits — Dr. Katie Graber
In this seminar, we will explore sound studies, voice studies, affect theory and more, to critically assess the ways different types of music are valued. We will use Columbus and surrounding areas as a case study to analyze the historical and contemporary value judgments placed on different music and sounds, and, by extension, the people associated with them.
     In recording technology, equalizing can balance an ensemble or a room’s acoustic peculiarities. Equalizing can allow listeners to hear individual instruments more clearly, or to produce a variety of desired blends. The process brings up questions of which sounds and frequencies are perceived as important, or what is considered noise. As a metaphor in music studies, this can help us understand a variety of music that takes place in a geographic location such as central Ohio.
     What happens when we equalize — in many senses of the term — various genres of music, “high” and “low,” recorded and live, from many cultural and religious traditions from around the world? What do we hear when we consider the whole, or when we turn our attention to particular pieces of the “ensemble”? Research projects for this course could be historical or ethnographic, focusing on Columbus or on related locations or musical genres.

SPANISH 7650 Musical Migrations and Latin American Identities
Wednesday 2:30–5:15, Caldwell Lab 183, 3 credits — Dr. Michelle Wibbelsman
This course delves into an understanding of Latin American identities from the unique perspective of musical expression, exchange and migration. This point of entry presents a different vantage point and also alternative methods of analysis for approaching Latin American identities "on the move." In doing so, it elicits a nuanced discussion of theories of migration, globalization, diaspora, transnationalism, locality, displacement, identity and border studies, and places the insights we gain from these perspectives at the intersection of global and local music-making and cultural consumption. The course is organized as a series of short lectures that introduce topics and prompt class discussion, student projects and presentations. The course includes 30% content on Brazilian music and identities.

SPANISH/MUSIC 7780.22 Andean Music Ensemble
Monday 5:30–7:35, Hughes Hall 109, 1 credit — Dr. Michelle Wibbelsman
This course is specifically designed to use performance as pedagogy — in this case, music-making as an entry point into learning about language and culture. Students learn how to play and perform music from Bolivia, Peru, Ecuador, Chile and Argentina; sung in Spanish, Quechua and Aymara; explore Andean musical and performance aesthetics, and learn about the cultural background and social significance of the songs.