Yale University.Calendar.Directories.

Courses of Instruction

Key to course list A schedule of the hours and places at which various classes are to meet will be posted online at www.yale.edu/oci.

Courses designated “a” meet in the fall term only.

Courses designated “b” meet in the spring term only.

Courses designated “a,b” are offered in both the fall and spring terms.

Courses designated “a–b” are yearlong courses. Credit for these courses is granted only after completion of two terms of work.

Courses designated NP are nonperformance courses.

Courses designated P/F will be graded on a Pass/Fail basis.

Courses designated Group A, B, or C qualify as distribution requirements in these groups.

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Musicianship and Theory

MUS 501a–b, Introductory Hearing and Analysis 2 credits in the fall; 4 credits in the spring. Group A. See MUS 502a, 503a, for description. Both sections must be completed to fulfill the degree requirement. Does not count as a nonperformance elective. Enrollment by placement exam. Richard Gard

MUS 502a, 503b, Hearing and Analysis 4 credits. Group A. This course develops aural and analytic skills through the exploration of a variety of musical styles, with and without score. The overall goal is to hear and articulate the effect of compositional choices and then to directly connect this understanding to performance. A short, significant composition is a requirement, and these compositions are performed. One of the sections is a degree requirement. Does not count as a nonperformance elective. Enrollment by placement exam. Richard Gard

MUS 610a–b, 710a–b, Score Reading and Analysis 4 credits per term. NP. Group A. An exploration of repertoire from the seventeenth through the twenty-first century through playing, analysis, and listening. The course includes learning all clefs, transposing, and an introduction to all orchestral instruments. Basic piano skills are required, and each term concludes with a final analysis paper on one of the works studied during the term. Permission of the instructor required; enrollment limited to eight. William Boughton

MUS 655b, Sixteenth-Century Counterpoint 4 credits. NP. Group A. In this class on the practice of sixteenth-century counterpoint, students learn the conventions of the style through the study of existing repertoire from such composers as Morales, Byrd, de Lassus, and Palestrina. Weekly exercises cover the study of species counterpoint and look specifically at such matters as melodic writing; two- and three-voice counterpoint; cadences and handling of dissonances; imitation and canon; and finally four-voice textures up to eight-voice textures in polychoral style. Although we touch upon several texts including Fux’s treatise, we use as a basic guide Robert Gauldin’s A Practical Approach to Sixteenth Century Counterpoint. Texts, however, can only serve to offer a summation of the conventions that exist in the repertoire. So while such manuals are helpful, the most valuable way to learn these conventions is by study of the repertoire itself. Therefore, a large component of the course is devoted to familiarizing students with the music of the great masters of sixteenth-century polyphonic writing, and to using that music as the jumping-off point for students’ own practice of counterpoint. Hannah Lash

MUS 658a/MUSI 319a, Twentieth-Century Music: Ear Training and Analysis 4 credits. NP. Group A. This course attempts to develop students’ ability to recognize and generate structures and processes particular to music of the twentieth century and to apply them in analysis of short pieces. The course makes use of musical examples by Schoenberg, Bartók, Debussy, Stravinsky, Webern, and others. Reading, singing, memorizing, and manipulation of these excerpts are among the course’s central activities, which also include singing (and playing), dictation, identification, improvisation, and, above all, recognition. Enrollment limited to fifteen. This class follows the Yale College academic calendar: it begins on August 31 and observes the October break. YSM students may take the class with permission even if they miss one or two of the initial classes. Michael Friedmann

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MUS 515a,b, Improvisation at the Organ I 2 credits. This course in beginning organ improvisation explores a variety of harmonization techniques, with a strong focus on formal structure (binary and ternary forms, rondo, song form). Classes typically are made up of two students, for a one-hour lesson on Mondays. The term culminates with an improvised recital, open to the public. In this recital, each student improvises for up to seven minutes on a submitted theme. Jeffrey Brillhart

MUS 529a, Introduction to Conducting 4 credits. A study of the art of conducting through analysis of scores, baton technique, and orchestration. Assignments include weekly conducting exercises, study of repertoire, quizzes, and a final examination. The ability to read scores and transpose is assumed. Permission of the instructor required; enrollment limited. Toshiyuki Shimada

MUS 530b, Intermediate Conducting 4 credits. Continuation of the techniques utilized in Conducting 529a. More difficult orchestral pieces are analyzed and conducted, and score reading at the piano is stressed. A playing ensemble is made up of participants in the class. Some piano playing skills required. Prerequisite: MUS 529a; thorough knowledge of theory and analysis. Permission of the instructor required. Enrollment limited to ten, determined by audition. Toshiyuki Shimada

MUS 531a–b, 631a–b, Repertory Chorus—Voice 2 credits per term. A reading chorus open by audition and conducted by graduate choral conducting students. The chorus reads, studies, and sings a wide sampling of choral literature. Marguerite Brooks

MUS 532a–b, 632a–b, Repertory Chorus—Conducting 2 credits per term. Students in the graduate choral conducting program work with the Repertory Chorus, preparing and conducting a portion of a public concert each term. Open only to choral conducting majors. Marguerite Brooks

MUS 533a–b, 633a–b, Seminar in Piano Literature and Interpretation 4 credits per term. For piano majors. Piano faculty and guests

MUS 534b, Collaborative Piano: Instrumental 2 credits. A course for piano majors, intended to broaden their experience and to provide them with the skills necessary to prepare sonatas and accompaniments. A number of selected instrumental sonatas are covered, as well as the problems involved in dealing with orchestral reductions and piano parts to virtuoso pieces. Sight reading and difficulties related to performing with specific instruments are also addressed. Students are encouraged to bring works to class that they are preparing for recitals. Elizabeth Sawyer Parisot

MUS 535a–b, 635a–b, Recital Chorus—Voice 2 credits per term. A chorus open by audition and conducted by graduate choral conducting students. It serves as the choral ensemble for four to five degree recitals per year. Marguerite Brooks

MUS 536a–b, 636a–b, Recital Chorus—Conducting 2 credits per term. Second- and third-year students in the graduate choral conducting program work with the Recital Chorus, preparing and conducting their degree recitals. Open to choral conducting majors only. Marguerite Brooks

MUS 537b, Collaborative Piano: Voice 2 credits. A course designed for pianists, focusing on the skills required for vocal accompanying and coaching. The standard song and operatic repertoire is emphasized. Sight-reading, techniques of transposition, figured bass, and effective reduction of operatic materials for the recreation of orchestral sounds at the piano are included in the curriculum. Ted Taylor

MUS 538a–b, 638a–b, 738a–b, Cello Ensemble 2 credits per term. An exploration of the growing literature for cello ensemble emphasizing chamber music and orchestral skills as well as stylistic differences. Performances planned during the year. Required of all cello majors. Aldo Parisot

MUS 540a–b, 640a–b, 740a–b, 840a–b, Individual Instruction in the Major 4 credits per term. Individual instruction of one hour per week throughout the academic year, for majors in performance, conducting, and composition. Faculty

MUS 541a,b, 641a,b, 741a,b, Secondary Instrumental, Compositional, Conducting, and Vocal Study 2 credits per term. P/F. All students enrolled in secondary lessons can receive instruction in either voice or piano. In addition, YSM keyboard majors may take secondary organ or harpsichord, and YSM violinists may take secondary viola. Students who are not conducting majors may take only one secondary instrument per term. YSM students who wish to take secondary lessons must register for the course and request a teacher using the online form for graduate students found at http://music.yale.edu/study/music-lessons; the availability of a secondary lessons teacher is not guaranteed until the form is received and a teacher assigned by the director of lessons. Secondary instruction in choral conducting and orchestral conducting is only available with permission of the instructor and requires as prerequisites MUS 565a for secondary instruction in choral conducting, and both MUS 529a and 530b for secondary instruction in orchestral conducting. Students of the Yale Divinity School, School of Drama, and School of Art may also register as above for secondary lessons and will be charged $200 per term for these lessons. Questions may be sent by e-mail to the director, Richard Gard (richard.gard@yale.edu).

MUS 542a–b, 642a–b, 742a–b, The Philharmonia Orchestra of Yale and New Music New Haven 2 credits per term. Participation, as assigned by the faculty, is required of all orchestral students. In addition to regular participation in Philharmonia, students are assigned to New Music New Haven, to groups performing music by Yale composers, and to other ensembles as required. Faculty

MUS 543a–b, 643a–b, 743a–b, Chamber Music 2 credits per term. Required of instrumental majors (except organ) in each term of enrollment. Enrollment includes participation in an assigned chamber music ensemble as well as performance and attendance in master classes and chamber music concerts. Faculty and guests

MUS 544a–b, 644a–b, 744a–b, Seminar in the Major 2 credits per term. An examination of a wide range of problems relating to the area of the major. Specific requirements may differ by department. At the discretion of each department, seminar requirements can be met partially through off-campus field trips and/or off-campus fieldwork, e.g., performance or teaching. Required of all School of Music students except pianists who take 533, 633, 733. Faculty

MUS 546a–b, 646a–b, 746a–b, Yale Camerata 2 credits per term. Open to all members of the University community by audition, the Yale Camerata presents several performances throughout the year that explore choral literature from all musical periods. Members of the ensemble should have previous choral experience and be willing to devote time to the preparation of music commensurate with the Camerata’s vigorous rehearsal and concert schedule. Marguerite Brooks

MUS 571a–b, 671a–b, 771a–b, Yale Schola Cantorum 1 credit per term. Specialist chamber choir for the development of advanced ensemble skills and expertise in demanding solo roles (in music before 1750 and from the last one hundred years). Enrollment required for voice majors enrolled through the Institute of Sacred Music. David Hill

MUS 615a,b, Improvisation at the Organ II 2 credits. This course explores modal improvisation, focusing on the composition techniques of Charles Tournemire and Olivier Messiaen. Students learn to improvise five-movement chant-based suites (Introit-Offertoire-Elevation-Communion-Pièce Terminale), versets, and a variety of free works using late-twentieth-century language. Classes typically are made up of two students, for a one-hour lesson on Mondays. The term culminates with an improvised recital, open to the public. In this recital, each student improvises for up to seven minutes on a submitted theme. Prerequisite: MUS 515. Jeffrey Brillhart

MUS 656a, Liturgical Keyboard Skills I 2 credits. In this course, students gain a deeper understanding of and appreciation for musical genres, both those familiar to them and those different from their own, and learn basic techniques for their application in church service playing. Students learn to play hymns, congregational songs, service music, and anthems from a variety of sources, including music from the liturgical and free church traditions, including the Black Church experience. Hymn playing, with an emphasis on methods of encouraging congregational singing, is the principal focus of the organ instruction, but there is also instruction in chant and anthem accompaniment, including adapting a piano reduction to the organ. In the gospel style, beginning with the piano, students are encouraged to play by ear, using their aural skills in learning gospel music. This training extends to the organ, in the form of improvised introductions and varied accompaniments to hymns of all types. We seek to accomplish these goals by active participation and discussion in class. When not actually playing in class, students are encouraged to sing to the accompaniment of the person at the keyboard, to further their experience of singing with accompaniment, and to give practical encouragement to the person playing. Prerequisite: graduate-level organ and piano proficiency. Walden Moore

MUS 657a, Liturgical Keyboard Skills II 2 credits. The subject matter is the same as for MUS 656, but some variety is offered in the syllabus on a two-year cycle to allow second-year students to take the course without duplicating all of the means by which the playing techniques are taught. Walden Moore

MUS 677a, Continuo Realization and Performance 4 credits. Acquisition of practical skills necessary for a competent and expressive performance from thorough-bass. Learning of figures, honing of voice-leading skills, and investigation of various historical and national styles of continuo playing as well as relevant performance practice issues. Regular class performances with an instrumentalist or singer. Open to pianists, harpsichordists, organists, and conductors. Arthur Haas

MUS 678b, Advanced Continuo Realization and Performance 4 credits. Practical and theoretical application of national and period styles from the entire Baroque era, 1600–1750. Students prepare and perform both unrealized and unfigured basses of vocal and instrumental sacred and secular literature from early Italian music through to the late Baroque and the empfindsamer style. Musical examples are supplemented with primary and secondary source readings. Prerequisite: MUS 677a or permission of the instructor. Arthur Haas

MUS 715a,b, Improvisation at the Organ III 2 credits. This course explores the improvisation of full organ symphony in four movements, Tryptique (Rondo-Aria-Theme/variations), improvisation on visual images, text-based improvisation, and silent film. Classes typically are made up of two students, for a one-hour lesson on Mondays. The term culminates with an improvised recital, open to the public. In this recital, each student improvises for up to ten minutes on a submitted theme. Prerequisites: MUS 515 and MUS 615. Jeffrey Brillhart

MUS 815a,b, Improvisation at the Organ IV 2 credits. This course explores the improvisation of contrapuntal forms including partimento fugue, stylus fantasticus, fugue d’école, and choral preludes. Prerequisites: MUS 515, 615, and 715. Jeffrey Brillhart

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MUS 505b, Orchestration through Contemporary Score Study 4 credits. NP. Group A. The study of advanced concepts in orchestral writing through the study of music of the past thirty years. Composers represented include Henri Dutilleux, Jacob Druckman, John Adams, Tan Dun, Magnus Lindberg, Thomas Adès, Helmut Lachenmann, and Marc-André Dalbavie, among others. Christopher Theofanidis

MUS 555b, Composition for Performers 4 credits. NP. Group A. This class looks at music composition from various historical and philosophical perspectives, with an eye toward discovering models and ideas that allow us to write music for ourselves. With a special emphasis on the history of text setting, we write and play music for each other and critique it ourselves. All are welcome. David Lang

MUS 620a, Orchestration for Performers and Conductors 4 credits. NP. Group A. This course on the basics of orchestration introduces the performer and conductor to both the knowledge of instrumentation (the mechanics and use of individual orchestral instruments) and the general techniques of classical orchestration (through score study). We use Samuel Adler’s The Study of Orchestration as a primary text for the study of instrumentation. This is supplemented by having live players come in weekly to talk about the specifics of their instruments. In addition, we look at several traditional works from the repertory, including Mahler’s Symphony No. 5, Debussy’s La Mer, and Stravinsky’s Rite of Spring. There are weekly quizzes on the instruments and a final exam on the orchestrational techniques studied. Christopher Theofanidis

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MUS 504a–b, 604a–b, 704a–b, Dramatic Movement for Singers 1 credit per term. Stage movement tailored specifically for singers. Physical preparation of the body through exercises that develop strength, control, and flow of movement while releasing tensions and extending the range of movement possibilities. Emphasis is placed on stage presence and movement problems as applied to specific roles, and on transferring the class experience to the stage. Required. Christopher Murrah

MUS 506a–b, 606a–b, Lyric Diction for Singers 2 credits per term. A language course designed specifically for the needs of singers. Intensive work on pronunciation, grammar, and literature throughout the term. French, German, English, Italian, Russian, and Latin are offered in alternating terms. Required. Faculty

MUS 507a–b, 607a–b, Vocal Repertoire for Singers 2 credits per term. A performance-oriented course that in successive terms surveys the French mélodie, German Lied, and Italian, American, and English art song. Elements of style, language, text, and presentation are emphasized. Required. Faculty

MUS 508a–b, 608a–b, 708a–b, Opera Workshop 3 credits per term. Encompasses musical preparation, coaching (musical and language), staging, and performance of selected scenes as well as complete roles from a wide range of operatic repertoire. Required. Doris Yarick-Cross, coaching staff, and guest music and stage directors

MUS 509a–b, 609a–b, 709a–b, Art Song Coaching for Singers 1 credit per term. Individual private coaching in the art song repertoire, in preparation for required recitals. Students are coached on such elements of musical style as phrasing, rubato, and articulation, and in English, French, Italian, German, and Spanish diction. Students are expected to bring their recital accompaniments to coaching sessions as their recital times approach. Faculty

MUS 522a–b, 622a–b, 722a–b, Acting for Singers 1 credit per term. Designed to address the specialized needs of the singing actor. Studies include technique in character analysis, together with studies in poetry as it applies to art song literature. Class work is extended in regular private coaching. ISM students are required to take two terms in their second year. Christopher Murrah

[MUS 549a, Early Music Repertoire for Singers 2 credits. A survey of solo and chamber repertoire (song, madrigal, cantata, opera, oratorio, motet) from the early seventeenth century to the mid-eighteenth century. Related topics include performance practice, ornamentation, national styles, related instrumental music, research, and original sources and their modern transcriptions. Assignments emphasize practical applications such as composing ornaments, finding repertoire, and creating new editions. Offered every other year. Not offered in 2017–2018]

MUS 594a–b, Vocal Chamber Music 1 credit. This performance-based class requires a high level of individual participation each week. Grades are based on participation in and preparation for class, and two performances of the repertoire learned. Attendance is mandatory. Occasional weekend sessions and extra rehearsals during production weeks can be expected. Students are expected to learn quickly and must be prepared to tackle a sizeable amount of repertoire. James Taylor

MUS 595a–b, 695b, Performance Practice for Singers 1 credit per term. Fall term: An introduction to the major issues of historically informed performance, including notation, use of modern editions, and performance styles. Spring term: Advanced exploration of notation, performance styles, and ornamentation in specific repertoire. Open to conductors and instrumentalists with permission of the instructor. Judith Malafronte

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History and Analysis

MUS 510b, Music before 1700 4 credits. NP. Group B. An overview of music before 1700 within its cultural and social contexts. The goal of the course is knowledge of the repertoire representing the major styles, genres, and composers of the period. Course requirements include six short essays, a final research project, and a final exam. Markus Rathey

MUS 511b, Music of the Eighteenth Century 4 credits. NP. Group B. A survey of the principal forms and styles of the eighteenth century from Johann Sebastian Bach and George Frideric Handel to the early music of Beethoven. Major works from the operatic, liturgical, orchestral, keyboard, and chamber music repertoires illustrate the stylistic transformation from the high Baroque to the Classical period. Participants consider the music in the context of contemporary social and artistic thought. Course requirements include weekly readings and six short analytical papers. Robert Holzer

MUS 512a, Music in the Nineteenth Century 4 credits. NP. Group B. An analytic and cultural survey of music in nineteenth-century Europe. The primary goal is intimate knowledge of repertoire representing the major styles, genres, and composers of the period, from Beethoven and Rossini to Strauss, Debussy, and Rimsky-Korsakov. Readings from primary documents (both critical and literary) provide grounding in historical events, aesthetic trends, and social contexts of nineteenth-century music making. Course requirements include weekly listening and reading, regular quizzes, two short music-analytic papers (2–3 pages), a midterm examination, and a final examination. Paul Berry

MUS 513a, Music since 1900 4 credits. NP. Group B. A detailed investigation of the history of musical style from ca. 1900 to the present. Issues to be considered include modernist innovations around 1910; serialism and neoclassicism in the interwar period; the avant-gardes of the 1950s and 1960s; postmodernism, neo-romanticism, and multiculturalism of the 1970s and beyond. Paul Hawkshaw

MUS 520a, Analysis of Béla Bartók’s String Quartets 4 credits. NP. Group A. In this course we analyze in depth the six string quartets of Béla Bartók and secondarily read and explore existing analyses and scholarship pertaining to this repertoire, looking at some of the work collected in Dániel Péter Biró and Harald Krebs’s work, The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective (Oxford University Press, 2014), as well as a handful of other articles. The goal is to illuminate this extraordinary part of Bartók’s output—a landmark in the twentieth-century chamber music repertoire—and to focus on each quartet in great depth, so that students gain a close perspective on this music. Hannah Lash

MUS 524b, Schubert: Songs and Song Cycles 4 credits. NP. Group B. A detailed investigation of Franz Schubert’s small-scale vocal music, the collections in which it was published, and the contexts in which it was first performed. The course charts a path through Schubert’s prolific and influential career as a composer of songs and song cycles, focusing on his relationships to previous traditions of song composition, his responses to the music of his contemporaries (including Beethoven), and the radical formal, harmonic, and temporal innovations characteristic of his own works. Parallel concerns include the performance practices that Schubert expected and the relevance of his biography to his music. The goal is a flexible and nuanced approach to the technical and interpretive problems posed by music and text in a wide variety of repertoire. Songs are chosen in part according to students’ interests and current performance projects. Course requirements include weekly listening and short readings (primarily of song texts in English translation), three brief response papers (1–4 pages), occasional oral presentations, and a final examination on topics chosen by the student. Paul Berry

MUS 527a, Schumann’s Chamber Music: Performance and Analysis 4 credits. NP. Group B. A study of selected chamber works by Schumann, coupling analytical research with practical performance issues. Advanced violinists, violists, cellists, oboists, clarinetists, hornists, and pianists admitted by audition. Weekly analysis assignments, readings, and chamber music rehearsals. Michael Friedmann

MUS 547a, Text, Form, and Narrative in Program Music, 1650–1900 4 credits. NP. Group B. A study of programmatic texts, musical forms, and implied narrative in program music from its origins through the end of the nineteenth century. Beginning in the seventeenth century and proceeding through the fruition and collapse of functional tonality, the course considers various modes of interaction between instrumental music and the titles and texts that accompanied it. The goal is a fluid and stylistically sensitive approach to storytelling through harmony, affect, and form in both symphonic and chamber repertoire. Among the composers addressed are Marini, Froberger, Biber, Vivaldi, Bach, Haydn, Beethoven, Mendelssohn, Berlioz, Schumann, Liszt, Rimsky-Korsakov, Brahms, Strauss, Dukas, Dvorˇák, Debussy, and Schoenberg. Course requirements include weekly listening and short readings (mainly programmatic texts in English translation), four brief response papers (1–3 pages), occasional oral presentations, and a final examination on topics chosen by the student. Paul Berry

MUS 554a, Schoenberg’s Society for Private Musical Performances and Music in Vienna after World War I 4 credits. NP. Group B. Between 1918 and 1922, when it disbanded for financial reasons, Arnold Schoenberg’s Society for Private Musical Performances presented almost three hundred new works by more than forty composers including Bartók, Berg, Busoni, Debussy, Hauer, Mahler, Ravel, Reger, Johann Strauss, Richard Strauss, Stravinsky, Szymanowski, Webern, and, of course, Schoenberg himself. The performers were young singers and instrumentalists from Vienna’s leading musical institutions under the tutelage of Schoenberg, Berg, Webern, and pianist Eduard Steuermann. The repertoire included solo works, chamber music, and chamber arrangements of orchestral pieces prepared by members of the society. In conjunction with the 2017–2018 Yale in New York concert series, this course explores the history and repertoire of the Society. The music in the Yale series, including the Society’s arrangements of Debussy’s Prelude to the Afternoon of a Faun, Bruckner’s Seventh Symphony, and some Strauss waltzes, serves as the focal point for discussion. The class explores the social, political, and financial circumstances that prevailed in post-WWI Austria, as well as the convoluted cultural politics of the Viennese musical scene that forced Schoenberg to form his Society. Midterm, final, and short paper required. There are weekly readings, and, wherever possible, performances by participants in the class. If appropriate, some of the papers may become program notes for the Yale in New York series. Participation in the concert programs is not required. Paul Hawkshaw

MUS 560a, Research and Editions 4 credits. NP. Group B. A course in music bibliography and research methods that emphasizes important printed and electronic reference tools in music and how to use them. The course also presents an overview of the issues involved in editing a musical work, for which students compare various editions of the same work. Ruthann B. McTyre

MUS 561b, Johann Sebastian Bach in the 1730s 4 credits. NP. Group B. In the early 1730s, Johann Sebastian Bach’s understanding of his office in Leipzig underwent a significant change. He had grown increasingly disappointed with the limitations of his position at St. Thomas, and, in 1729, he had taken over the Collegium Musicum, an ensemble of students from the university that performed in local coffeehouses. In 1730 he was also (unsuccessfully) seeking a position in Danzig, and between 1732 and 1736 he repeatedly contacted the Electoral Court in Dresden to award him the title of court composer. In this decade he almost completely abandoned the composition of cantatas for Sunday morning services and worked instead on such large-scale works as the Mass in B minor and the Christmas Oratorio, as well as a number of secular cantatas for the Dresden court. He also targeted the music market more aggressively, publishing several editions of keyboard music. The seminar explores the reasons for this shift of interest and its compositional consequences. Markus Rathey

MUS 569b, Choral Music in the Twentieth Century 4 credits. NP. Group B. In this course we trace the path of Western art music in the twentieth century through the lens of the choral genre, beginning with transitional figures of the late nineteenth century and continuing to the year 2000. Representative works are examined, and broader questions of choral music’s functionality, particular challenges, and place within the wider realm of art music are addressed. Among the composers whose work is considered are Ives, Mahler, Strauss, Schoenberg, Stravinksy, Dallapiccola, Webern, Martin, Vaughan Williams, Poulenc, Hindemith, Britten, Penderecki, Ligeti, Argento, Bernstein, Adams, Pärt, Górecki, Tavener, Gubaidulina, Tan Dun, Rihm, and Golijov. Jeffrey Douma

MUS 573a, Jazz, Race, and Gender in America 4 credits. NP. Group B. An introduction to jazz from its roots in African music, through its development in New Orleans (1900–1917), to its evolutionary expansion throughout the United States. The course includes a study of jazz’s greatest artists and their styles, a selection of music in various jazz styles from the 1880s through the 1970s, and an examination of the social, racial, and economic factors that gave rise to its various styles. This introductory course may be redundant for students who have already had a course in jazz history. Students with some knowledge of jazz history may want to take this course to help them develop their own curriculum in preparation for teaching a similar course. Course work is done through a combination of online work, short essay papers, and reading assignments. Thomas C. Duffy

MUS 589a, Approaches to the Classical Style 4 credits. NP. Group B. An examination of recent and contemporary scholarship on eighteenth-century music, aimed at applying varying approaches to works composed between approximately 1730 and 1800. Among the thinkers and topics to be considered are Charles Rosen and James Webster on periodization, Daniel Heartz on the galant style, Leonard Ratner on rhetoric and topics, Eric Weimer and Janet Levy on texture, James Hepokoski and Warren Darcy on form, and Leonard Meyer and Robert Gjerdingen on schemata. Robert Holzer

MUS 617a, Music and Theology in the Sixteenth Century 4 credits. NP. Group B. The Reformation in the sixteenth century was a “media event.” The invention of the printing press, the partisanship of famous artists like Dürer and Cranach, and—not least—the support by musicians and composers were responsible for the spreading of the ideas of the Reformation. While Luther gave an important place to music within the liturgy, Zwingli and Calvin were much more skeptical, and even the Catholic church, in the Council of Trent, reconsidered the place and form of music within the liturgy. The course explores how music was viewed by the reformers and the Catholic church and analyzes the theological decisions that formed the basis for their views. Markus Rathey

MUS 626a,b, Rhetoric and Early Instrumental Performance 4 credits. NP. Group B. How are we to perform, today, music from the Baroque era (ca. 1600–1750)? The diverse styles of the instrumental and vocal music composed during this period elicit wide and quite differing responses from instrumentalists and singers attuned to pre-Classic and Romantic performance practices. In this course, which is centered on both performance and discussion, we take in the many possibilities available to the performer of music composed in this period. Topics include Baroque sound, ornamentation, vibrato, text-music relationships, improvisation, tempo and meter, rhythmic alteration, dynamics, pitch, tuning and temperament, and basso continuo. We compare period instruments to their modern counterparts, and we read and discuss primary and secondary source documents. Students learn how to approach modern editions critically and use primary sources to guide their performance-practice decisions. We explore detailed musical issues within larger historical and critical contexts—for example, the importance of national preferences (e.g., dance in France, rhetoric in Germany). At the same time, we look at the ideologies of the early music movement as it has taken shape in the twentieth and twenty-first centuries. The success of this class hinges in large part on the quality of student preparation and participation. Students should be prepared to perform often on their respective instruments; they will be coached on various aspects of Baroque works from the seventeenth and eighteenth centuries. Small oral reports throughout the term on aspects of performance practice, as well as a larger oral presentation on a particular piece at the end of the term, are required. Arthur Haas

MUS 674b, Analysis of Western Music (1199–1939) from the Composer’s Perspective 4 credits. NP. Group B. This course is designed to provide composers (and others interested in composition) with the opportunity to evaluate and analyze important musical compositions from a creator’s point of view. Works of music have been analyzed by theorists, musicologists, ethnomusicologists, performers, and audiences for their own purposes. The goal of this course is to explore the decisive musical choices that remain after accounting for the contexts and constraints of theory, history, and sociology. We attempt to address the significance and character of what, given the histories and theories of music, is finally “composed” by a composer. Selected compositions from 1199 to 1939 are discussed and analyzed. Martin Bresnick

MUS 852b, D.M.A. Seminar I 4 credits. NP. Group B. Required of all D.M.A. candidates during the spring term of their first year in residence. The study of a specific topic or topics provides candidates with expanded opportunities for research. Paul Berry

MUS 853a, D.M.A. Seminar II 8 credits. NP. Group B. Required of all D.M.A. candidates during the fall term of their second year in residence. An introduction to the problems and methodology of musicology and theory. In consultation with individual advisers, candidates work toward completion of a thesis draft. D.M.A. written comprehensive examinations take place during this term. Robert Holzer

MUS 854b, D.M.A. Colloquium 4 credits. NP. Group B. Required of all D.M.A. candidates during the spring term of their second year in residence. Class meetings and sessions with advisers aimed at completing the thesis. Theses are normally due the last Friday of March, and public presentations take place in April. D.M.A. qualifying oral examinations take place at the end of this term. Robert Holzer

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Special Studies

MUS 521a, English Language Skills 4 credits. NP. Group C. This course is designed for international students in the Yale School of Music who are at a basic or intermediate level of English. Instruction includes the refinement of skills such as writing, speaking, reading, and grammar. Attendance is required at all sessions. Serena Blocker

MUS 550a, Music Technology for the Practicing Musician 2 credits. NP. Group C. An overview of pertinent technological developments and their historical contexts. Designed for students who have had little or no prior experience in this area. The discussion groups for this course are hands-on workshops. These provide an opportunity for students to meet in small groups and gain firsthand experience using the digital systems in the Center for Studies in Music Technology (CSMT). Students are expected to attend one workshop per week. Jack Vees

MUS 553b, The Twenty-First-Century Recital 2 credits. NP. Group C. This is a course for those who have completed MUS 550a (or have equivalent proficiency in the area of music technology). The purpose of the course is to provide students with the tools and training needed to present works in contemporary digital formats, both in live, performing environments and online. Projects can include: music involving digital processing, audio-only fixed-media pieces, mixed-media works (incorporating video, live or prerecorded), and Internet-disseminated pieces. Though housed in the School of Music, the course facilitates students’ interaction with the wealth of resources around the greater campus to realize these works. Projects that incorporate visual elements are encouraged, as are interactions between creative artists and performers of various disciplines from other schools within Yale. The Yale Digital Media Center for the Arts (DMCA) is a valuable partner in this process, with relevant workshops offered there in coordination with its director, Johannes DeYoung. Students wishing to participate in this class should be prepared to present a project description prior to being admitted. The course will be considered successfully completed with the realization of the proposed project. Jack Vees

MUS 559a,b, 659a,b, Jazz Improvisation 2 credits. NP. Group C. In this course, students study basic, intermediate, and advanced concepts of jazz improvisation and learn the essentials of the jazz language through solo transcriptions and analysis. During the course of the term, students learn how to use vocabulary (or musical phrases) and a variety of improvisational devices and techniques over common chords and chord progressions. Upon completion of the course, students will have a deeper understanding of what it takes to become a great improviser, what to practice and how to practice it, and how to go about expanding their jazz vocabulary in order to naturally develop a unique improvisational voice. Students are required to bring their instruments to class. A basic understanding of jazz nomenclature and some experience improvising are advised. Grades are based on the completion of solo transcription assignments, individual development, and attendance. The instructor’s permission is required for enrollment beyond one term. Wayne Escoffery

MUS 578b, Music, Service, and Society 4 credits. NP. Group C. What is a musician’s response to the condition of the world? Do musicians have an obligation and an opportunity to serve the needs of the world with their musicianship? At a time of crisis for the classical music profession, with a changing commercial landscape, a shrinking audience base, and a contraction in the number of professional orchestras, how does a young musician construct a career today? Are we looking at a dying art form or a moment of reinvigoration? In this course we develop a response to these questions, and we explore the notion that the classical musician, the artist, is an important public figure with a critical role to play in society. The course includes inquiry into a set of ideas in philosophy of aesthetics; a discussion about freedom, civil society, and ways that art can play a role in readying people for democracy; discussion on philosophy of education as it relates to the question of positive social change; and an exploration of musical and artistic initiatives that have been particularly focused on a positive social impact. Enrollment limited to twenty. Sebastian Ruth

MUS 621a, Careers in Music: Creating Value through Innovative Artistic Projects 2 credits. NP. Group C. This course teaches entrepreneurship and leadership through innovative, collaborative, term-long projects. Working from the psychological framework of the growth mindset and emotional intelligence, students articulate their artistic missions and purposes and then divide up into collaborative project groups based on common missions. They learn how to innovate using the creativity problem-solving process and design thinking. They create, pitch, and implement artistic projects in an environment that encourages taking risks and learning from experience. Students also learn the art of collaboration including communication skills and leveraging communication styles, conflict management, and effective persuasion and presentation. The class combines instruction with group discussion, coaching, and feedback from fellow students, faculty, and professional and alumni mentors. Course requirements include successful completion of the project, weekly readings and assignments, a final paper, and in-class presentations. Enrollment is limited to sixteen and is by permission of the instructor. Attendance is mandatory with one excused absence. Astrid Baumgardner

MUS 672a/REL 912a, Sacred Music: Unity and Diversity 4 credits. NP. Group C. What is “sacred music”? The answer depends on the individual perspective, denominational affiliation, and also personal musical taste. The course takes an ethnographic approach and explores the use, understanding, and function of sacred music in different local congregations in New Haven. The work in the classroom provides the theoretical and methodological basis, while students each, over several weeks, visit one local congregation of a denomination different from their own. Students observe the musical practices and engage with members of the clergy and community about questions of “the sacred in music” and the function of music in worship and devotional life. A particular focus of the course is on music that does not represent the Western musical canon. Students conduct and evaluate their research during the term and present their results in a small symposium at the end of the term. Markus Rathey

MUS 673b, Leadership Strategies for Music Presenters 4 credits. NP. Group C. This course explores the conceptual, entrepreneurial, financial, and managerial elements of presenting classical and popular music. Guest lecturers include executives from the professional arts and business communities, both domestic and international. Class sessions are supplemented by case studies, and each student develops a comprehensive business plan for a project. Enrollment is limited to ten, and an interview with the instructor may be requested prior to enrollment. Please submit a CV to Stefanie Parkyn at stefanie.parkyn@yale.edu by November 17, 2017. The class roster will be posted on or before December 15, 2017. Robert Blocker

MUS 690a,b, Independent Study Project 2 credits per term. NP. Second- or third-year students with the consent of the deputy dean may elect, for one term only, to pursue individual study in specialized areas of interest, under the supervision of faculty members. An outline for proposed individual study must be completed and approved prior to the beginning of the term in which the student expects to pursue the special study. Forms are available in the Office of the Registrar. Faculty

MUS 999a–b, D.M.A. Dissertation 0 credits. Faculty

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Yale Institute of Sacred Music

MUS 519a–b, 619a–b, 719a–b, Colloquium 1 credit per term. NP. P/F. Participation in seminars led by faculty and guest lecturers on topics concerning theology, music, worship, and related arts. Counts as one NP in the fourth term. Required of all Institute of Sacred Music students. Martin Jean

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Graduate-Level Courses in the Department of Music

Permission for admission to graduate courses offered by the Department of Music must be obtained from the director of graduate studies of the department. The following courses are available in the graduate department in 2017–2018 (4 credits each term).

  • MUSI 515b, Schenkerian Analysis Group A. Daniel Harrison
  • MUSI 699a, Proseminar: Musicology Group B. Gary Tomlinson
  • MUSI 721b, History of Theory II Group B. Ian Quinn
  • MUSI 801b, Early Modernism: Strauss, Mahler, Nietzsche, 1890s Group B. James Hepokoski
  • MUSI 811b, Critical Approaches to Popular Music Group C. Michael Veal
  • MUSI 817a, Music, Radio, and Mediation Group C. Brian Kane
  • MUSI 826b, Perspectives on the Cantus Firmus Mass Group B. Ana Zayaruznaya
  • MUSI 857a, Music in Nazi Germany Group B. Gundula Kreuzer
  • MUSI 904a, The Beach Boys in American Culture and Counterculture Group C. Daniel Harrison
  • MUSI 925a, Parsifal Group A. Richard Cohn
  • MUSI 950a, Shostakovich Group A/B. Patrick McCreless

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