16-HILT-112 (2 U): Music History and Literature I (Nowacki, MW 9:00-9:50, with recitation sections as indicated below).
Music history of the High Renaissance and early Baroque eras.

16-HILT-212 (2 U): Music History and Literature II (Kregor, WF 11:00-11:50, with recitation sections as indicated below).
Surveys nineteenth-century music from Schubert through Wagner.

16-HILT-512 (3 U or G, call no. 507085): History of Opera II (Joe, TH 9:30-10:50). This class will provide a general background of operatic production in the twentieth century and a detailed knowledge of a handful of the period's representative works. Rather than “surveying” each and every operatic phenomenon of this very rich period, we will aim to achieve a more specialized understanding of a few of its most vital developments and relevant musicological theories and practices.

16-HILT-572 (0-1 U or 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-582 (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-662 (3 U or 3 G, call no. 507098): Genre Topics: “German Romantic Opera.” (Boyd, MWF 11:00-11:50). This course explores the development of German Romantic opera from the turn of the nineteenth century up to 1850. Although we will examine some of the warhorses of the repertory (Fidelio, Der fliegende Holländer), we will also look at some lesser-known works by Marschner, Lortzing, Schubert and R. Schumann. Our aim is to work toward an understanding of this multivalent, fluid genre in its historical, musical, and cultural context.

16-HILT-801 (3 G, call no. 507099): 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. 507100): Graduate History & Style II (Dubowy, MWF 9:00-9:50). 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. 507101): Graduate History & Style III (Joe, MWF 11:00-11:50). 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-821/16-HILT-480/16-MTHC-432 (3 G or 2 U): Graduate Research and Writing/Senior Research (Dubowy, MW 11:00–11:50, call number 109517 [G] or 109526 [U-HILT] or 109483 [U-MTHC]).
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-848 (3 G, call no. 507103): Music in Culture Advanced Topics: “Paris in the 1830s” (Kregor, TH 11:00-12:20). The 1830s marked one of the most concentrated periods of aesthetic and compositional achievement for music in the entire nineteenth century. In particular, Paris-saturated with artists, writers, and musicians from all corners of Europe-proved to be a particularly fertile environment for the likes of the Mendelssohns, Chopin, Liszt, Berlioz, Alkan, Meyerbeer, and Paganini. This course explores their contributions to the construction of the virtuoso and the modern recital, grand opera and program music, the idea of musical originality, and the myth of Beethoven.

16-MTHC-821 (3 G, call no. 507174): History of Theory: Antiquity and Middle Ages (Nowacki, TH 2:00-3:20). The theories of tuning, scale formation, transposition, and notation of ancient Greek writers, including Aristoxenus, Ptolemy, Cleonides, Aristides Quintilianus, and Boethius, and theories of the Latin ecclesiastical modes, especially as seen in the writings of Aurelian, Hucbald, Guido, Berno, Hermannus, and Johannes Cotto, and the anonymous Musica Enchiriadis and Alia Musica.

16-HILT-860 (1 G, call no. 507104): 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.