Spring

During the five three-hour sessions of the Dissertation Chapter Seminar each quarter, Ph.D. students in their fourth and fifth years will have the opportunity to share strategies for writing up their dissertations during the years of most intensive research. We shall work collectively to develop these strategies, investigating the on-the-ground research work that students bring to the DCS from the early stages of research to the completion of chapters in preparation for the dissertation-completion year. Each session will begin with a discussion of research-to-writing strategies, and it will conclude with discussion in the seminar of one or two pre-circulated chapters by students in the DCS. Ph.D. students who are not in residence during their fourth and fifth years, because they are conducting research or no longer in residence in Chicago, will participate remotely. The DCS provides students an opportunity for a sustained and supportive dissertation-writing workshop for Ph.D. students in Music.

The Colloquium is a series of lectures followed by discussion and normally given by speakers from other institutions who are specially invited by the Music Department to share their recent research or compositions with students and faculty. All lectures take place on Friday afternoons.

Subsequent to the publication of Robert Gjerdingen’s Music in the Galant Style in 2007 there was renewed interest in musical schemas and a steady growth of schema theory. Expanding considerably beyond the musical practice of the seventeenth and eighteenth centuries (which were Gjerdingen’s focus), it now
seems that there is a schema for every time and occasion.

The seminar aims to take a step back from this proliferation of music-theoretical structures to consider how the notion of a schema developed over the course of the twentieth and twenty-first centuries, starting with Sir Henry Head’s use of the term in his 1920 Studies in Neurology. This consideration will show both
the promise and the limitations of schema theory as it is presently employed in close readings of musical works. Seminar readings will draw broadly from work in psychology, computational theory, cognitive science, and music theory.

The seminar will conclude with a mini-conference during tenth week, during which each participant will have twenty minutes to present a summary of their findings, followed by ten minutes of discussion. Seminar papers (which are typically around 15–20 pages in length) must be turned in no later than August 21, 2026 or no grade for the seminar will be given.

This proseminar will engage contemporary musicology’s revivification of the elusive concept “modernity,” engaging some grounding theories of the modern alongside new and imaginative work in music and sound studies, much of it reframing what modernity was and, through narrative and archival revision, might still be. Familiarity with western music history, musical repertoire, and music notation may in some cases help but is not a prerequisite.

This co-taught, in-person seminar will take up the philosophical, social, and political problem of how love relates to music as both experience and idea with a focus on Greece and the wider Mediterranean. Whether staged and performed, publicly shared, or privately consumed, love and music pervade time and place, shaping diverse genres, engaging different media, and articulating numerous domains of human life and the public sphere. Yet the mediation of love experiences through music remains radically undertheorized. The seminar “Love/ Music” will think about what the love/ music nexus demands as an object of ethnographic and historical study and as a theoretical entity. The course has a binary scope, being both theoretical and hands-on ethnographic (including historical ethnography). Thus its syllabus includes sessions addressing seminal theoretical readings alongside sessions structured as “ethnographic workshops” variously addressing the problematic of the “love / music relation.

This two-quarter course will provide a conceptual and practical introduction to the art, the craft, and the practice of orchestral conducting. The course is targeted primarily toward graduate students in Music Composition, but is open to advanced undergraduate or graduate students with orchestral or choral performance experience as well. Interested students should have had some experience playing or singing in a performance ensemble, as well as a basic familiarity with orchestral instruments and with the standard orchestral repertoire.

During the winter quarter, class sessions, readings, and repertoire assignments will provide the practical and philosophical basis for subsequent work in the course. Important technical exercises will be assigned every week, as well as several short papers and worksheets over the course of the quarter. The overall workload of the course is commensurate with a one-half course load per quarter. Because of the workshop nature of the course, class attendance and class participation are of prime importance. Students will receive one course credit upon successful completion of the two-quarter sequence (Winter and Spring 2026).

This course engages students in a quarter-long music ethnography project documenting the music and sound practices of sacred communities on Chicago’s South Side. Students will gain practical experience in ethnomusicological methods such as participant observation, interviewing, oral history, archival and digital research, fieldnote writing, sound recording, and collaborative representation. Working in teams, students will create micro-documentaries highlighting the sound practices of sacred communities. The course will culminate in a digital map showcasing the sound practices of South Side communities. This map will serve as a visual representation and digital archive of local musicking and cultural diversity, in support of local music communities.

Hand-built circuits, tape loops, feedback, filters, ring modulators, turntables, live-processing software environments, microphones, and human-machine interface designs. In this course, we will study current and historical approaches to the performative use of hardware and software environments in music, and will follow the practice as it continues to redefine music composition and improvisation in the 21st century. Study will be repertoire-based, drawing from the work of artists ranging from David Tudor to Herbie Hancock to Grandmaster Flash to Kaija Saariaho.