Courses

MUSI 10100 Intro to Western Music

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.

2021-2022 Winter
Category
History

MUSI 10100 Intro to Western Music

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.

2021-2022 Winter
Category
History

MUSI 10200 Intro to World Music

This course is a selected survey of classical, popular, and folk music traditions from around the world. The goals are not only to expand our skills as listeners but also to redefine what we consider music to be and, in the process, stimulate a fresh approach to our own diverse musical traditions. In addition, the role of music as ritual, aesthetic experience, mode of communication, and artistic expression is explored.

2021-2022 Winter
Category
Ethnomusicology

MUSI 10200 Intro to World Music

This course is a selected survey of classical, popular, and folk music traditions from around the world. The goals are not only to expand our skills as listeners but also to redefine what we consider music to be and, in the process, stimulate a fresh approach to our own diverse musical traditions. In addition, the role of music as ritual, aesthetic experience, mode of communication, and artistic expression is explored.

2021-2022 Winter
Category
Ethnomusicology

MUSI 10300 Intro to Music: Materials and Design

This introductory course in music is intended for students who are interested in exploring the language, interpretation, and meaning of music through coordinated listening, analysis, and creative work. By listening to and comprehending the structural and aesthetic considerations behind significant written and improvised works, from the earliest examples of notated Western music to the music of living composers and performers, students will be prepared to undertake analytical and ultimately creative projects. The relationship between cultural and historical practices and the creation and reception of music will also be considered. The course is taught by a practicing composer, whose experience will guide and inform the works studied. No prior background in music is required.

2021-2022 Winter
Category
Composition

MUSI 10300 Intro to Music: Materials and Design

This introductory course in music is intended for students who are interested in exploring the language, interpretation, and meaning of music through coordinated listening, analysis, and creative work. By listening to and comprehending the structural and aesthetic considerations behind significant written and improvised works, from the earliest examples of notated Western music to the music of living composers and performers, students will be prepared to undertake analytical and ultimately creative projects. The relationship between cultural and historical practices and the creation and reception of music will also be considered. The course is taught by a practicing composer, whose experience will guide and inform the works studied. No prior background in music is required.

2021-2022 Winter
Category
Composition

MUSI 10400 Intro to Music: Analysis and Criticism

This course aims to develop students' analytical and critical tools by focusing on a select group of works drawn from the Western European and American concert tradition. The texts for the course are recordings. Through listening, written assignments, and class discussion, we explore topics such as compositional strategy, conditions of musical performance, interactions between music and text, and the relationship between music and ideology as they are manifested in complete compositions.

2021-2022 Winter
Category
Theory

MUSI 12200 Music in Western Civilization

(HIST 12700, SOSC 21100)

This course, part of the Social Sciences Civ core, looks at musics in different moments of Euro-American history and the social contexts in which they originated, with some comparative views on other world traditions. It aims to give students a better understanding of the social contexts of European music over this period; aids for the basic sound structures of pieces from these different moments; and convincing writing in response to prompts based on source readings or music pieces. Our second quarter (MUS 12200 etc.) runs from the beginning of European Romanticism around 1800 to the turn of the 21st century.

2021-2022 Winter
Category
History/Civics

MUSI 15200 Harmony and Voice Leading II

The second quarter explores extensions of harmonic syntax, the basics of classical form, further work with counterpoint, and nondiatonic seventh chords. Musicianship labs in ear training and keyboard skills required.

2021-2022 Winter
Category
Theory

MUSI 17000 University Chorus

The University Chorus is the largest vocal ensemble on campus. Its season includes an annual production of Handel's Messiah as well as presentations of choral masterworks such as Berlioz's Roméo et Juliette, Beethoven's Symphony No. 9, and Verdi's Messa da requiem. Among its 80 to 100 members are undergraduates, graduates, faculty and staff members, and singers from the Hyde Park and University community: The result is a wonderfully diverse group of vocalists, collaborating in performances of monuments of the literature. The University Chorus presents three to four concerts per season, culminating in a festive year-end performance with the combined choirs and the University Symphony Orchestra.

2021-2022 Winter
Category
Performance

MUSI 17001 Motet Choir

As the premier undergraduate choral ensemble at the University of Chicago, the Motet Choir accepts 28-36 singers each year. Concentrating on a cappella masterworks of all periods, this polished vocal ensemble specializes in music of the Renaissance and also performs historically and culturally diverse repertoire ranging from Gregorian chant to gospel standards. The Motet Choir presents at least three major concerts per year (one each quarter) and sings at convocations and special events on campus and throughout the Chicago area. The ensemble goes on tour every second year, often during the University's spring break.

2021-2022 Winter
Category
Performance

MUSI 17002 Women's Ensemble

The Women's Ensemble is made up primarily of undergraduate women at the University of Chicago. We explore classical repertoire from the Medieval era up through the present day and music from polyphonic singing traditions across the world, including South Africa, Zimbabwe, the Republic of Georgia, Croatia, Bulgaria, Sweden, and Norway, as well as a variety of American singing traditions. Through diverse repertoire, we strive to bring our voices together in powerful ways.

2021-2022 Winter
Category
Performance

MUSI 17003 Rockefeller Chapel Choir

The Rockefeller Chapel Choir and its professional subset, the Decani, sing at Sunday services and festivals throughout the academic year and also in Rockefeller's signature Quire & Place concert series, presenting major works from the entire historical canon, lesser-known gems, and the premières of new work by distinguished composers. The choir's members come from diverse spiritual and cultural backgrounds, sharing together the rich musical experience of singing an array of choral music in the unique religious and cultural contexts of a chapel to which students of all world traditions are drawn.

2021-2022 Winter
Category
Performance

MUSI 17010 University Symphony Orchestra

The 100-member University Symphony Orchestra presents an ambitious season of six major concerts per year (two each quarter). Known for its imaginative presentations of unusual repertoire as well as for its powerful performances of major symphonic literature, the University Symphony opens each year with a costumed Halloween concert-a family-friendly event enhanced by storytelling, dancing, and special effects-and closes with a celebratory year-end collaboration with the combined choirs. Repertoire generally encompasses 19th- and 20th-century works written for large orchestral forces, including masterpieces by Beethoven, Brahms, Dvorák, Mahler, Shostakovich, Sibelius, Vaughan Williams, and more. In recent years the USO has presented several silent films with live orchestral accompaniment, including Eisenstein's Battleship Potemkin, and performed with acclaimed professional soloists every season. USO string sections are coached by the Pacifica Quartet. Membership is chosen on the basis of competitive auditions, and includes both undergraduate and graduate students, faculty and staff, alumni, and some community members.

2021-2022 Winter

MUSI 17011 University Chamber Orchestra

The University Chamber Orchestra is a 40-member ensemble of strings, woodwinds, and horns that specializes in Baroque, Classical, and 20th-century repertoire for smaller orchestra. The group presents three concerts per year, often pairing a major symphony by Mozart or Haydn with an overture, suite, or concerto for similar forces. The Chamber Orchestra also serves as the pit orchestra for the Music Department's annual collaboration with the Gilbert & Sullivan Opera Company.

2021-2022 Winter
Category
Performance

MUSI 17012 University Wind Ensemble

The University Wind Ensemble is an auditioned group of fifty to sixty instrumentalists with a diverse range of musical interests and experience. The UWE presents one concert per quarter, after an intensive preparation period of six to seven weeks. With a focus on modern literature conceived specifically for the wind ensemble medium, the UWE provides its members with an opportunity to perform music by such renowned wind composers as Malcolm Arnold, Percy Grainger, Gustav Holst, and Frank Ticheli, as well as transcriptions of orchestral masterpieces by J. S. Bach, Mussorgsky, Prokofiev, and others. Membership includes talented undergraduate and graduate students, faculty, staff, and community members who are dedicated to bringing a wide array of music to the University community.

2021-2022 Winter
Category
Performance

MUSI 17019 Jazz Ensemble

2021-2022 Winter
Category
Performance

MUSI 17020 Early Music Ensemble

The Early Music Ensemble is an historically oriented performance and study group led by members of the Newberry Consort. Participation in the group is open to anyone in the University community with music-reading experience; private lessons and coaching in voice and early instruments are likewise available through the Newberry Consort. Repertoire is drawn from 15th- to 17th-century sources, with special emphasis given to historically informed performance practices such as reading from original notation, improvisation, and ornamentation. The Early Music Ensemble also provides a forum for undergraduate majors and graduate students in Music who wish to explore repertories particular to their scholarly research. Collaborations with professional performers take place throughout the year, culminating in the Early Music Ensemble's year-end spring concert.

2021-2022 Winter
Category
Performance

MUSI 17023 Middle East Music Ensemble

The Middle East Music Ensemble explores a variety of classical, neo-classical, and popular musical forms from throughout the Middle East, encompassing compositional and improvisational techniques unique to non-Western musical culture. Members perform on traditional instruments, often in company with noted guest artists, and present multiple concerts both on and off campus. No previous experience in the genre is required, but the ability to read music is necessary. Membership includes students, faculty, and staff of the University, as well as community members interested in the art and music of the Middle East.

2021-2022 Winter
Category
Performance

MUSI 17025 South Asian Music Ensemble

The South Asian Music Ensemble explores a variety of classical, vernacular, and popular song repertories from the Indian Subcontinent, with membership open to beginners as well as to more experienced performers with a background in South Asian music. The ensemble will focus on teaching vocal techniques, stylistic features, compositional forms, improvisational practices, and performance conventions specific to India, Pakistan, Afghanistan, Bangladesh, Nepal, Sri Lanka, and South Asian diasporas. In addition to participating in weekly ensemble rehearsals, members will have the option of attending voice coaching sessions and/or engaging the instructor for private lessons. Membership is open to students, faculty, and staff of the University, as well as community members interested in South Asian music.

2021-2022 Winter
Category
Performance

MUSI 17026 Chamber Music Program

The Chamber Music Program creates opportunities for intermediate and advanced wind players, string players, and pianists to learn and perform small ensemble chamber music. Participants in the program study duo, trio, quartet, and quintet repertoire spanning the entire chamber music repertoire, and hone their collaborative skills under the guidance of the chamber music coaches. Weekly Rep Classes offer extra-curricular musical activities as well as studio and masterclass opportunities for ensembles to practice performing and learn from guest artists. Chamber Music Program ensembles receive three coachings per quarter focusing on instrumental technique, interpretation, and collaboration, with the expectation that ensembles maintain regular weekly rehearsal schedules and perform their repertoire at least once during the academic year. Performance opportunities are available at a wide variety of venues on the U of C campus and in the Hyde Park community. Additionally, CMP participants are eligible to take private lessons with the instrumental teacher of their choice, and may audition for the annual Lesson Awards and the bi-annual Concerto Competition.
 

2021-2022 Winter
Category
Performance

MUSI 17027 Piano Program

The Piano Program is designed for intermediate and advanced undergraduate and graduate students to enhance their musical skills and experience through regular coaching opportunities, master classes, quarterly Piano Showcase concerts, and numerous other opportunities offered by the Department of Music’s Piano Program. Undergraduate and graduate student pianists interested in taking advantage of these opportunities must audition for the Piano Program in order to be included in these activities. Auditions are held at the beginning of the academic year.

2021-2022 Winter
Category
Performance

MUSI 17028 Vocal Studies Program

The Vocal Studies Program provides opportunities for the solo singer, and supports the U of C choirs with vocal pedagogy and technique coaching. The program focuses on developing the solo classical and musical theater singer. Private lesson study is encouraged but not required. Students prepare for performances on regularly scheduled departmental concerts and in a variety of special programs on and near the Hyde Park campus. Singers may also work with instrumentalists involved in the Chamber Music Program or Piano Program, and may collaborate with graduate and undergraduate composers on new works. They are eligible to audition for the Concerto Competition hosted by U of C Orchestra, as recommended by their teacher.

2021-2022 Winter
Category
Performance

MUSI 17029 Percussion Ensemble

Percussion Ensemble provides students with a wide background of experience the opportunity to develop practice, rehearsal, and performance techniques in a small ensemble format. Repertoire focuses on integrating many forms of percussion such as mallets, drums, world, and found instruments to familiarize students to a variety of compositional styles and processes. Percussion Ensemble presents two or more concerts per season, featuring works for solo, duo, and small ensembles.

2021-2022 Winter
Category
Performance

MUSI 22721 Music in War, Conflict and Peace

Throughout history, music fed the machinery of war and helped to come to terms with war. We will be examining how music, as realized by military commanders 500 years ago, has the power to intimidate the enemy, to energize and coordinate combatants. In the Renaissance, composers wrote ‘battaglias’ which is program music imitating battles. We will study pieces that celebrated victories and songs of thanksgiving which were performed during peace celebrations. During the Second World War, more than ever, music became both a propaganda instrument of the Nazi Reich and of counter-cultures. We will also encounter how soldiers of the Vietnam War dealt with their traumas and how their soundtrack created the means for articulating the cultural memory of a generation.

In this course, we will actively investigate the dark and light side of music, namely, music’s role in wars, conflicts, and peace. On the dark side, we explore how music instigates or accompanies violence, music’s role in propaganda, and how music can be (ab)used to create hatred. On the light side, we investigate music as a medium of commemoration, remembrance, hope, and healing. We will be doing so through active listening at home and during class and by discussing our findings in this seminar-style course. Sound recordings will be our main historical source supplemented with weekly readings of secondary literature.

2021-2022 Winter
Category
History

MUSI 23300 Introduction to the Social and Cultural Study of Music

This course provides an introduction to ethnomusicology and related disciplines with an emphasis on the methods and contemporary practice of social and cultural analysis. The course reviews a broad selection of writing on non-Western, popular, vernacular, and "world-music" genres from a historical and theoretical perspective, clarifying key analytical terms (i.e., "culture," "subculture," "style," "ritual," "globalization") and methods (i.e., ethnography, semiotics, psychoanalysis, Marxism). In the last part of the course, students learn and develop component skills of fieldwork documentation and ethnographic writing.

2021-2022 Winter
Category
Ethnomusicology

MUSI 23321 Bollywood Beats: Music and Sound in Popular Hindi Cinema

This course explores the music and sound of popular Hindi cinema from aesthetic, social, cultural, economic, historical, and political perspectives. Students will be introduced to the musical conventions and practices of the genre, and to changes in Bollywood musical style over the course of the 20th and 21st centuries. We will watch select films with keen attention to music’s imbrication with cinematic visuality, narrative, technology, and dance, and with consideration of issues like emplacement, gender, caste, religion, capitalism, nationalism, and transnationalism. Bollywood is a cosmopolitan music, drawing from and contributing to a range of regional and international music practices; we also venture into some of those streams.

2021-2022 Winter
Category
Ethnomusicology

MUSI 23821 Writing Music

Writing about music is always an act of translation: trying to set the indescribable—sound, beyond words—into a worded space. This class will explore different tactics taken by writers across form and genre and look at how they attempt to solve the problem; we’ll also practice writing about music within different conventional forms (reference article, review) in order to test out their strengths and weaknesses ourselves. We will look to the expanded approaches to music writing offered by the internet as well as older genres, as defined in the four nodes of the course: personal, contextual/analytical, fictional, and multimodal, with the idea of communication about and with music at the center of all the writing we do. As primarily a writing class, we will build a toolbox of techniques, looking to both academic and popular forms, and will focus on developing article and essay pitches for journalism and web outlets as well as gaining a broader knowledge of the different kinds of music writing there are and ways to use them separately and in combination.

Hannah Judd
2021-2022 Winter
Category
Ethnomusicology

MUSI 23921 Music and the Spatial Imagination

This course explores how geography shapes culture and how culture shapes geography within the context of traditional and popular musical practices from around the world. Starting from the premise that social processes, cultural practices, and different scales of geographic space are mutually interdependent, two foundational questions arise. First, how do diverse geographical knowledges mediate the interpretation and practice of different musical genres? Second, how does musical performance in the context of the political economy of music and musicians’ artistic agendas promote particular and competing spatial imaginaries? Students will interrogate terms from human geography such as space, place, local, global, and scale; assess debates surrounding these terms; and critically evaluate the power of maps to shape geographic knowledge. Through assembling this critical geographic lens, students will analyze the ways in which musical practices across different cultures converge with social processes and discourses including race, gender, sexuality, nationalism, diasporas, and technology and how a spatial imagination shapes this nexus.

2021-2022 Winter
Category
Ethnomusicology/History/Theory

MUSI 24322 Advanced Musical Theatre Writing

(TAPS 22360)

This course is an advanced, project-oriented writing workshop with an emphasis on dramatic structure, storytelling through music, and the exploration of character as practical matters. Each student will propose a new, full-length musical and will work towards the creation of a first draft over the course of the quarter. In addition to presenting and workshopping new scene or song material weekly, students will study, discuss, and draw inspiration from standout examples of the genre. Students will present excerpted readings from their musicals at the end of the course. Some experience in writing for musical theater is expected.

2021-2022 Winter
Category
Composition

MUSI 24417 Making and Meaning in the American Musical

(SIGN 26009, TAPS 28467)

The history of the American musical in the 20th century is paradoxical. While the genre is often denigrated as staging lyrical utopias of romance and adventure allowing audiences to escape depressing quotidian realities, many musicals did seek to engage some of the most pressing social issues of their day. In this course, we will look—and listen—closely to four differing musicals from the 20th century, studying their creative origins, while also analyzing their complex social meanings revealed through the story, music, lyrics, staging, and dance.

2021-2022 Winter
Category
History

MUSI 25600 Jazz Theory

This course focuses on the knowledge necessary to improvise over the chord changes of standard jazz tunes. We cover basic terminology and chord symbols, scale-to-chord relationships, connection devices, and turn-around patterns. For the more experienced improviser, we explore alternate chord changes, tritone substitutions, and ornamentations. Using techniques gained in class, students write their own solos on a jazz tune and transcribe solos from recordings. All instruments are welcome, and students should write to the instructor prior to the first class to let them know their instrument.

MUSI 15300 or equivalent

2021-2022 Winter
Category
Theory

MUSI 25719 Design and Disability

(CHDV 28301, HLTH 28301, MAAD 28300, BPRO 28300)

Disability is often an afterthought, an unexpected tragedy to be mitigated, accommodated, or overcome. In cultural, political, and educational spheres, disabilities are non-normative, marginal, even invisible. This runs counter to many of our lived experiences of difference where, in fact, disabilities of all kinds are the "new normal." In this interdisciplinary course, we center both the category and experience of disability. Moreover, we consider the stakes of explicitly designing for different kinds of bodies and minds. Rather than approaching disability as a problem to be accommodated, we consider the affordances that disability offers for design.

This course begins by situating us in the growing discipline of Disability Studies and the activist (and intersectional) Disability Justice movement. We then move to four two-week units in specific areas where disability meets design: architecture, infrastructure, and public space; education and the classroom; economics, employment, and public policy; and aesthetics. Traversing from architecture to art, and from education to economic policy, this course asks how we can design for access.

2021-2022 Winter
Category
Theory

MUSI 26618 Electronic Music I

(MAAD 24618)

This course presents an open environment for creativity and expression through composition in the electronic music studio. The course provides students with a background in the fundamentals of sound and acoustics, covers the theory and practice of digital signal processing for audio, and introduces the recording studio as a powerful compositional tool. The course culminates in a concert of original student works presented in multi-channel surround sound. Enrollment gives students access to the Electronic Music Studio in the Department of Music. No prior knowledge of electronic music is necessary.

Gabriel Novak
2021-2022 Winter
Category
Composition

MUSI 27200 Topics in the History of Western Music II

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.

MUSI 14300 or 15300. Open to nonmajors with consent of instructor.

2021-2022 Winter
Category
History

MUSI 29700 Independent Study: Music

This course is intended for students who wish to pursue specialized readings in music or to do advanced work in composition.

2021-2022 Winter
Category
Ethnomusicology
Civics
Composition
Ethnomusicology
Ethnomusicology/History/Theory
Ethnomusicology;History/Theory
History
History/Civics
History/Theory
Performance
Theory
Theory/Other

MUSI 29900 Senior Research: Music

Various
2021-2022 Winter
Category
Ethnomusicology
Civics
Composition
Ethnomusicology
Ethnomusicology/History/Theory
Ethnomusicology;History/Theory
History
History/Civics
History/Theory
Performance
Theory
Theory/Other

MUSI 31100 Tonal Analysis I

This course introduces fundamental tools of tonal analysis, applied to music of the eighteenth and nineteenth centuries, accomplished through a focus on Heinrich Schenker's influential theory of linear analysis. A portion of the course will be given over to exploring the historical and cultural context of Schenker's theory, its critical reception, and the ways it has been applied. This will be complemented by an introduction to Schenkerian techniques and the analytical resources they offer. Note: Music 31100 is conceived as a preparation and foundation for Music 31200, which will build directly upon the analytic models and repertoire introduced in Music 31100.

2021-2022 Winter
Category
Theory

MUSI 32800 ProSem 20th Century

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.

2021-2022 Winter
Category
History

MUSI 23100/33100 Jazz

This survey charts the history and development of jazz from its earliest origins to the present. Representative recordings in various styles are selected for intensive analysis and connected to other musics, currents in American and world cultures, and the contexts and processes of performance. The Chicago Jazz Archive in Regenstein Library provides primary source materials.

2021-2022 Winter
Category
Ethnomusicology

MUSI 24000/34000 Composition Lessons

This course consists of individual weekly composition lessons.

Augusta Read Thomas, Ryan Dohoney
2021-2022 Winter
Category
Composition

MUSI 24000/34000 Composition Lessons

This course consists of individual weekly composition lessons.

2021-2022 Winter
Category
Composition

MUSI 24000/34000 Composition Lessons

This course consists of individual weekly composition lessons.

2021-2022 Winter
Category
Composition

MUSI 34100 Composition Seminar

The composition seminar is a weekly session designed for graduate students in composition. It is an open forum for composers to listen to recent music, including their own, and to discuss issues connected with trends, esthetics, and compositional techniques. The entire composition faculty takes part in these sessions. The composition seminar often hosts well-known visiting composers whose works are performed in the city by various groups or ensembles, as well as performers specializing in new music and contemporary techniques.

2021-2022 Winter
Category
Composition

MUSI 26621/36621 Electronic Music: External Sensor Use in Real-Time Performance

(MAAD 20621)

This course explores practical applications of external sensing hardware in live and interactive electronic music and interdisciplinary art creation. We will explore topics such as motion detection, gesture mapping, and machine listening in depth though readings, in-class activities, and assigned projects.

2021-2022 Winter
Category
Composition

MUSI 26715/36720 16th Century Counterpoint

This class explores sixteenth century counterpoint through the lens of species counterpoint training as codified in the eighteenth century. Students will produce compositions and exercises for two and three voices, with a brief excursion into four voice counterpoint. The class will develop a critical ear and a mind towards good counterpoint with in-class critique and discussion. Each class will also be devoted to discussing counterpoint in repertoire from medieval to present, focusing on sixteenth century masterworks, in tandem with assignments in which students complete brief lines of missing voices in existing repertoire, comparing their own solutions with the original. We also compare and discuss famous examples of student counterpoint from Mozart, Beethoven, and others.

2021-2022 Winter
Category
Composition

MUSI 27709/37709 Soul and the Black Seventies

(CRES 27709, CRES 37709, GNSE 27709, GNSE 37709, HIST 37709, HIST 27709)
2021-2022 Winter
Category
History

MUSI 41000 Graduate Colloquium: 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.

Staff
2021-2022 Winter
Category
Ethnomusicology
Civics
Composition
Ethnomusicology
Ethnomusicology/History/Theory
Ethnomusicology;History/Theory
History
History/Civics
History/Theory
Performance
Theory
Theory/Other

MUSI 41500 Diss Proposal Seminar

The purpose of this seminar is to assist students (typically in their third year) in crafting a dissertation proposal, gaining critical feedback from their peers, and honing compelling research projects. The meeting schedule of the seminar will be flexible: beginning in the fourth week of Autumn term, we will meet about once every two weeks; it may be, however, that we pick up the tempo a bit during Winter term, such that during Spring term we can slow it down a bit to allow students more time to work with their advisors on the formulation of their research projects. Once I know the schedule of the Department workshops I will schedule the meetings of the DPS to avoid conflicts with classes, workshops and other events, and distribute an initial assignment for reading and discussion.

2021-2022 Winter
Category
Ethnomusicology
Civics
Composition
Ethnomusicology
Ethnomusicology/History/Theory
Ethnomusicology;History/Theory
History
History/Civics
History/Theory
Performance
Theory
Theory/Other

MUSI 41520 Dissertation Chapter Seminar

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. During the Autumn Quarter of 2020/2021, the DCS will be entirely remote. The DCS provides students an opportunity for a sustained and supportive dissertation-writing workshop for Ph.D. students in Music.

2021-2022 Winter
Category
Ethnomusicology
Civics
Composition
Ethnomusicology
Ethnomusicology/History/Theory
Ethnomusicology;History/Theory
History
History/Civics
History/Theory
Performance
Theory
Theory/Other

MUSI 41521 Graduate Teaching Forum in Music

2021-2022 Winter
Category
Ethnomusicology
Civics
Composition
Ethnomusicology
Ethnomusicology/History/Theory
Ethnomusicology;History/Theory
History
History/Civics
History/Theory
Performance
Theory
Theory/Other

MUSI 42021 Music, Colonialism, and Nationalism

In this seminar we examine and disentangle the triangulated historical and cultural spaces that form through the complex interaction of the three larger subject areas: music, colonialism, and nationalism. Colonial encounter because audible to the extreme when sound is unleashed as the language of control and resistance by the colonizer and colonized alike. Music, as the amalgam of sonic difference, opens the metaphorical and material spaces in which the struggle for power is also articulated as the aesthetic expression of sovereignty. Song sounds linguistic and geographic borderlands, transforming them into the contested boundaries of nations both in ascendancy and in decline. In the course of the seminar, we seek the ways in which music and sound articulate the counterpoint between colonialism and nationalism, yielding one of the most forceful narratives for understanding the history of the present.

We shall draw upon diverse resources and approaches throughout the seminar. We shall devote attention to specific repertories and genres that have the power to represent the colonial and national interests. In addition to reading critically important works on colonialism and nationalism, we shall also listen widely and to different types of sound material, ethnographic and commercial, classical and popular, in literature and in film. It will be our goal to bear witness to the shape of the music-colonialism-triangle in as many shapes as possible.

2021-2022 Winter
Category
Ethnomusicology

MUSI 43721 Music and Memory

Without a doubt, memory is crucial to the production and understanding of musical sound. At the small scale, much of musical discourse relies on being able to remember what was just heard so that we can compare and relate it to what we are now hearing. On the large scale, memories for musical materials can persist over a lifetime and—as research with Alzheimer’s patients has shown—may remain when other memories have vanished. Memory is equally a tool for composers and improvisers: consider the striking recollections of earlier songs in Schumann’s Dichterliebe and Frauenliebe und Leben, or Jim Hall’s references to “Can’t Help Lovin’ Dat Man” in his 1975 solo over “The Way You Look Tonight.” Memory is equally basic to evocations or enactments of nostalgia through sound, as in the Magic Numbers’s “Roy Orbison” (from the album Alias). Indeed, an argument can be made that musical practice writ large is how societies remember—that is music, especially as it is linked with embodied practice, is a technology for memory.

Readings include research on memory processes (such as Frederick Bartlett’s Remembering, David Rubin’s Memory in Oral Cultures, and Gabriel Radvansky and Jeffrey Zack’s Event Cognition), approaches from social anthropology (like Paul Connerton’s How Societies Remember), and readings from music scholars engaged with the topic of memory (for example, Charles Rosen’s observations about Dichterliebe in The Romantic Generation).

2021-2022 Winter
Category
Theory

MUSI 44021 Music Spectralities

(GNSE 44021)

The uncanny, the ghostly, the spectral, the dead: terms like these, often housed under the umbrella of “spectrality,” have lately haunted the borders of music history. This is especially true where its disciplinary objects—sounding music, listeners, histories, technologies--cannot easily be defined but also cannot be reduced away. They have forced music studies toward a reckoning with its past certainties, challenging its canons but also furnishing new modes of analysis and criticism for refractory sites of research.

Most particularly, spectrality has emerged prominently in considerations of race and gender. This seminar will read recent literature, musicological and non, to ask how spectrality as a conceptual paradigm mediates anxious musical relationships to race, gender, and sexuality by focusing on death and mortality, including music’s own vanished pasts. Our inquiries will engage the sonic analogues to visibility / invisibility and presence / absence paradoxes conjured by death and haunting in the forms of inaudibility / audibility and silence / noise, especially as they pertain to phonography, film, and other media. We will find that far from circumventing the realms of the material and technological, the seemingly immaterial realms of spectrality turn out to engage and perpetuate them.

2021-2022 Winter
Category
History

MUSI 45521 Music and Sound in Chinese Literture

(EALC 48088, TAPS 41455)
2021-2022 Winter