16-HILT-111 (2 U): Music History and Literature I (Nowacki, MW 9:00-9:50, with recitation sections as indicated below).
Music history of the Middle Ages and early Renaissance.

16-HILT-211 (2 U): Music History and Literature II (Dubowy, WF 11:00-11:50, with recitation sections as indicated below).
Surveys the Classical period, emphasizing the music of W. A. Mozart, F. J. Haydn, and Beethoven.

16-HILT-511 (3 U or G, call number 406540): History of Opera I (Dubowy, TH 9:30-10:50). This class will provide a background of operatic production from the seventeenth through the nineteenth centuries and a detailed knowledge of a handful of the century's most significant operatic works. Rather than surveying every operatic phenomenon of these centuries, we will achieve a specialized understanding of some of its most vital developments through intensive study of seven operas.

16-HILT-571 (0-1 U or 0-1 G): Early Music Lab (Schlagel/Lambert/Stucky).
Explore Medieval, Renaissance, and early Baroque repertory, performance techniques, and notation while learning to play period instruments (instruments will be provided).

16-HILT-581 (0-1 U or 0-1 G): World Music Performance Lab (Gise). Instruction in performance and teaching techniques on instruments from sub-Saharan Africa and Cuba.

16-HILT-661 (3 U or 3 G, call number 406586): Composer Topics: “Josquin des Prez: Prince of Musicians” (Schlagel, TH 11:00-12:20). Josquin des Prez is among the most famous and most often studied composers of the Renaissance. In this course we will learn the new Josquin biography and the revised chronology of his output, and we will study his Mass, motet, and chanson output with particular attention to his variety of compositional styles and strategies. We will also consider his impact on later generations. Other topics that we will explore along the way include reading mensural notation, modern editorial techniques, the use of musica ficta, Renaissance modal theory, and performance practices.

16-HILT-662 (3 U or 3 G, call number 406552): Genre Topics: “Text Setting from the Structuralist Perspective” (Nowacki, MWF 1:00-1:50). In conservatories, examination of the relations between words and music is a familiar component of musical analysis, along with analysis of form, harmony, and style. Yet these analyses are often mired in shallow, pre-structuralist routine, pointing out cases of word-painting and the responsiveness of the music to the phonetic properties-especially the accentuation-of the words. They neglect the syntactical (i.e., non-lexical, non-phonetic) aspects of the relation between words and music. The course will attempt to remedy this situation by reviewing the theory of structuralism and examining case-studies from the whole history of music, including the Gregorian eighth-mode tracts, the chansons of Dufay, the madrigals of Rore, selected works of Verdi, and selected songs of Schubert.

16-HILT-801 (3 G, call number 406553): Graduate History and Style I (Schlagel, MWF 1:00-1:50). An examination of musical issues and topics from the Middle Ages and Renaissance. Using an anthology of musical examples, a selection of scholarly articles, and examples from primary sources, the course will explore the genres, styles, and notational systems of the period, along with theoretical issues, questions of performance practice, and the role of social, political, and religious conditions in musical production.

16-HILT-802 (3 G, call no. 406554): Graduate History & Style II (Boyd, MWF 11:00-11:50). An examination of musical issues and topics from the seventeenth and eighteenth centuries. Using an anthology of musical examples, a selection of scholarly articles, and examples from primary sources, the course will explore aesthetics, the emergence of new genres (e.g., opera, the concerto, symphony, and string quartet), changing patronage, transitional and established styles, and the contributions of selected composers.

16-HILT-803 (3 G, call no. 406555): Graduate History & Style III (Kregor, MWF 9:00-9:50). An examination of musical issues and interdisciplinary topics from the nineteenth, twentieth, and twenty-first centuries. Using an anthology of musical examples, a selection of scholarly articles, and examples from primary sources, the course will explore a variety of topics such as the absolute/program music debate, operatic traditions, Nationalism, Modernism, Neo-Classicism, and music after 1950.

16-HILT-821/16-HILT-480/16-MTHC-480 (3 G or 2 U): Graduate Research and Writing/Senior Research. The indispensable tool of every CCM graduate student: a guide to the delights of research, from finding and evaluating sources to the writing of clear and effective prose.

16-HILT-845 (3 G, call no. 409277): Nineteenth-Century Advanced Topics: “The Lied and Mélodie in the Nineteenth Century” (Kregor, TH 9:30-10:50). An exploration of the art song as cultivated in Germany (Lied) and France (mélodie) during the long nineteenth century. Issues of text-music relationship, cyclicity, performance practice, and cross-fertilization with other genres will be considered using representative works by Schubert, R. Schumann, Clara Wieck Schumann, Berlioz, Gounod, Brahms, Wolf, Fauré, Debussy, and Schoenberg. Analysis through in-class performances will be encouraged.

16-HILT-860 (1 G, call no. 406559): Musicology Colloquium (F 2:00-3:20). Forum for musicologists that includes preparation and follow-up sessions for “Thinking About Music,” studies of trends and methodologies in the field, and workshops on career development skills.

16-HILT-982 (4 G, call no. 406564): Seminar in Musicology: “Neo-Classical Stravinsky” (Joe, W 2:00-4:50). In this seminar we will study neo-classical elements in Stravinsky's aesthetics of music and his compositions. Works to be analyzed will encompass a wide range of genres-stage, symphonic, and chamber works. Readings will be selected from both primary sources, such as his autobiography, Poetics of Music, and other writings in collaboration with Robert Craft, and various secondary sources, including Theodor Adorno's Philosophy of Modern Music and many studies by Richard Taruskin. Among other issues to be examined are Stravinsky's treatment of language in vocal compositions and his attitude toward technology and popular culture.