History

This one-quarter course is designed to enrich the listening experience of students, particularly with respect to the art music of the Western European and American concert tradition. Students are introduced to the basic elements of music and the ways that they are integrated to create works in various styles. Particular emphasis is placed on musical form and on the potential for music to refer to and interact with aspects of the world outside.

This course examines issues and contexts for European music in the period, concentrating on cultural meaning, transmission, improvisation, and sources. Students will do work with digital editions of Renaissance music, interactions between Europe and the Americas, and problems of gender and music.

MUSI 27200 addresses topics in music from 1600 to 1800, including opera, sacred music, the emergence of instrumental genres, the codification of tonality, and the Viennese classicism of Haydn and Mozart.

This one-quarter course is designed to enrich the listening experience of students, particularly with respect to the art music of the Western European and American concert tradition. Students are introduced to the basic elements of music and the ways that they are integrated to create works in various styles. Particular emphasis is placed on musical form and on the potential for music to refer to and interact with aspects of the world outside.

The seminar will introduce students to issues and trends in the study of music since 1900. We will explore how scholars have in the last several years have studied musical practices of the 20th and 21st centuries as well as how they have determined salient repertoires, concepts, and themes for their research. Genres explored include German modernism, gospel, EDM, South African Kwaito, noise, and Tejano/Latinx pop (among others). Concepts encountered include migration-diaspora, sound recording, community formation, experimentation, nationhood, diva worship, improvisation, and mourning. We will also reflect on the ways in which scholars have blurred boundaries between musicological subfields and variously combined historiography, ethnography, performance studies, and music analysis.

As part of three sequential courses, this survey of music history examines European musical culture, and those with which it had contact, from around 800 to 1750. Students will engage scores, source readings, and analysis.

This one-quarter course is designed to enrich the listening experience of students, particularly with respect to the art music of the Western European and American concert tradition. Students are introduced to the basic elements of music and the ways that they are integrated to create works in various styles. Particular emphasis is placed on musical form and on the potential for music to refer to and interact with aspects of the world outside.

Listening to trans*, raced, and castrato voices, "Errant Voices: Gender and Performances beyond Measure" will explore voices that escape their confines perforce or by choice, trying to make sense of resistant, insurgent, and resilient voices. Students from various disciplines are invited to join the seminar, thereby helping to advance its themes but working from their own strengths and orientations. Our common goal will be to develop shared theoretical language among differing cases that can lead to new insights into wider paradigmatic shifts across gender and race in our historical moment. The project turns on performances inasmuch as they reveal the workings of bodies, intentions, and interactions. It depends on collective thinking because it is intersectional and thus concerns emergent shared languages developed by encountering questions collaboratively.

This course looks at themes and moments of music in Europe and the European abroad, with some comparisons of other musical traditions. Students will engage source readings, notation/improvisation, and cultural contexts, along with trans-continental links and disjunctures. Requirements include: dealing with sources, one class report, a mock single-sheet exam, and a take-home final. It is possible that we might interact with the Haymarket Opera Company's production of Monteverdi's *Poppea* in June.

What can we learn from popular music? Reebee Garofalo asserts that it is "a social and political indicator that mirrors and influences the society we all live in." In his book Audiotopia, musicologist Josh Kun further suggested that "political and cultural citizenship is configured through the performance of popular music and its reception, via acts of listening, by the people." Building upon these observations, Katherine Meizel has argued that popular talent competition shows like American Idol offer a rich and unexplored opportunity to examine such acts of listening, contending that these programs provide valuable lenses into American ideologies and narratives of Americanness. Taking up this charge, this course explores the relationship between American political, educational, social, and cultural discourses, popular culture, and musical performance through analyses of popular music competition shows such as American Idol, America's Got Talent, and The Voice. Organized thematically, the course includes units that address themes of meritocracy, democracy, race and ethnicity, gender and sexuality, celebrity, disability, talent and ability, and education. The class will examine specific musical performances from televised talent competitions in relation to broader academic literature, popular media coverage, fan discourse, and scholarly sources specifically addressing the talent shows. Students engage in online and in-class debates as well as designing a final project.