Course Catalog 2021-2022 [ARCHIVED CATALOG]
Course Search
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This is a comprehensive listing of all active, credit-bearing courses offered by Oberlin College and Conservatory since Fall 2016. Courses listed this online catalog may not be offered every semester; for up to date information on which courses are offered in a given semester, please see PRESTO.
For the most part, courses offered by departments are offered within the principal division of the department. Many interdisciplinary departments and programs also offer courses within more than one division.
Individual courses may be counted simultaneously toward more than one General Course Requirement providing they carry the appropriate divisional attributes and/or designations.
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Ethnomusicology |
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ETHN 100 - Introduction to Musics of the World FC CNDP CD
4 credits
Using case studies from around the world, this course will challenge how you think about music. Through interactive performance, critical listening, and musical analysis, we examine the diverse ways people think about and structure music. We also examine music as an inherently social act, illustrating how music is informed by - and conversely informs - historical, political, cultural, and economic processes, along with what music means to the people who make and engage with it.
This course is appropriate for new students.
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ETHN 103 - Music As Social Life FC CNDP DDHU CD
4 credits
Using different case studies from around the world, this course examines the power of music in social life. We will explore the meanings and uses of music, such as the way music is used to heighten and ensure spiritual efficacy, to comment on and contribute to social movements, or to make sense of ‘natural’ disasters. Rather than diving deep into musical structures, we will explore music in its cultural, political, religious, economic, historical, and/or ecological contexts. Ultimately, the course gives you critical tools and frames to apply to your own case students.
Prerequisites & Notes: This class is designed for students without prior musical experience. See ETHN 100 for a comparable class that requires experience.
This course is appropriate for new students.
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ETHN 106 - The History of Rock FC CNDP DDHU CD
4 credits
The history of rock and roll is one complicated by the places where it was born - multiple sites across the United States that grapple with race, class, gender, and ethnicity. In the course, students will uncover the layers of political, social, and cultural shifts that continue to shape and reshape rock and roll and its branches. Beginning with commercial recording in the early 20th century and continuing through today, we will investigate popular music as it has grown from its largely African-American roots to a diffuse (and often contentious) art form with global reach.
This course is cross-listed with CMUS 106
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ETHN 190 - Black Music in the Hour of Chaos FC CNDP
4 credits
This course focuses on the production, reception, and functions of contemporary Black music. Both Black Lives Matter movement and dramatic domestic political change serve as context for exploration. Students will use an ethnomusicological approach to explore pertinent themes including: the emergence of new Black music genres and the identities they signify; how they public performance of Black music exists within the context of gentrification and protest and; the role of Black music as affirmation/resistance/catharsis. Throughout the semester students will directly engage the work of musicians, artists, and scholars. The course will culminate with a public presentation of students’ findings.
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ETHN 200 - Introduction to Musics of the World FC CNDP DDHU CD
4 credits
Using case studies from around the world, this course will challenge how you think about music. Through interactive performance, critical listening, and musical analysis, we examine the diverse ways people think about and structure music. We also examine music as an inherently social act, illustrating how music is informed by - and conversely informs - historical, political, cultural, and economic processes, along with what music means to the people who make and engage with it.
Prerequisites & Notes: Consent of the instructor.
This course is cross-listed with HISP 200
This course is appropriate for new students.
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ETHN 201 - Doing Musical Ethnography FC CNDP, DDHU CD WINT
4 credits
Music ethnography is a key methodology in the discipline of ethnomusicology. This course introduces ethnographic research methods (i.e. fieldwork) through reading classic and contemporary ethnographies, fieldwork manuals, and direct exposure to the work of practicing ethnomusicologists who ground their own work in diverse approaches to ethnomusicological research in the 21st century. Using tools and practices from the course, students will design their own ethnographic research projects about a musical community and conduct fieldwork throughout the semester that culminates in writing a musical ethnography.
Prerequisites & Notes: ETHN 100 or CMUS 103 recommended.
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ETHN 202 - Epics, Puppets, and Music: From India to Indonesia FC CNDP, DDHU
4 credits
Wayang kulit is a complex art form from Indonesia incorporating music, puppetry, and literature that draws on Hindu epics, the Mahabharata, and the Ramayana. This class will involve both an academic and experiential component. We will explore the stories, the context, and trace the connections between contemporary Indonesian practices and Indian pasts. We will also interact with the puppets, watch videos, and learn to play the music of wayang using the Javanese gamelan. The semester will culminate in a co-created drama of our own where students will make puppets, write a story and/or compose the music.
Prerequisites & Notes: Must also be registered for APST 748: Javanese Gamelan. ETHN 100 or CMUS 103 is recommended.
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ETHN 204 - Music and Gender FC CNDP, DDHU
4 credits
We will use case studies in historical and contemporary contexts from around the world to explore the ways gendered and sexualized identities are encoded within musical practices, repertoires, and performance contexts. Conversely, we will explore how these musical practices gender social realities. The approach is an interdisciplinary one drawing on feminist ethnomusicology, musicology, and anthropology along with gender studies. The topics are broad, ranging from a genre of the West Sumatra highlands to Western art music and American feminist punk. The course gives critical tools to explore the gendering of our own musical worlds through an oral history or ethnographic project.
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ETHN 206 - Decolonizing Ethnomusicology: Moving from Colonial Approaches of Extraction to Community Engagement FC CNDP DDHU CD
4 credits
What does it mean to decolonize ethnomusicology? This course moves from a consideration of colonial practices of extraction to models of community-engaged collaboration, repatriation and dissemination, while critically examining and engaging the discourse of “decolonization.” The first module employs a hands-on approach to history by engaging primary source materials from the late 19th and early 20th centuries focusing on colonial technologies (e.g. phonograph), institutions (e.g. archives, museums, educational institutions, recording industry, world’s fairs), and individuals. The second module shifts our attention to practices and methodologies necessary in any attempt to decolonize, including prioritization of BIPOC voices. The class is part intellectual history of the anthropological and ethnomusicological engagement with sound, part examination of how knowledge is produced and disseminated, and part methodology (how we could do research and disseminate it). Each student will work on personal contributions to the class Digital Humanities site in order to make knowledge publicly accessible.
Prerequisites & Notes: ETHN 100 or CMUS 103 suggested; and/or ETHN course @200 level.
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ETHN 212 - Music and Ecology FC CNDP, DDHU CD
4 credits
This course addresses the increasing global awareness about the ecological realities of human life on this planet and how these are mediated through musical or sonic expressions. We will explore a series of case studies from the U.S. and around the world that take into account the diversity of ways in which people use music to frame their interactions, experiences, and frustrations with their local ecologies. The course will explore topics including: soundscapes of diverse environments; the overlap between music and animal sounds; music as protest against environmental degradation; cultural and musical framing of natural and technological disasters (e.g. Hurricane Katrina, the BP oil spill, Fukushina); the concept of “place” and ways in which it is articulated in musical practice; and the connections between indigenous peoples, the environment, and healing (e.g. shamanistic practices in Tuva and the Amazon). In short, it asks how a given environment shapes social, cultural, and musical life. As such, the course is inherently inter-disciplinary in nature: it will draw on the work of ethnomusicologist, anthropologists, sociologist, biologists, sound recordists, and environmentalists.
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ETHN 213 - The Anthropology of Entrepreneurship FC CNDP, DDHU
4 credits
This course explores the study of music entrepreneurship and the music industry from an anthropological perspective. The course emphasizes examining the histories and current industry trends facing working musicians, including the way working musicians build revenue models that can include diverse activities such as: session work, publishing royalties, promoter activities, performance fees, and teaching positions. The class is organized around both historical and ethnographic themes - students will (1) explore the major forces that shape the history of the music industry in the United States, (2) engage and document ongoing dialogue with a working musician or music industry worker, and (3) consider these materials in context of their future careers by creating an auto-ethnography. The course gives critical tools to apply to one’s own profession in order to understand the options and challenges of making a living as a musician in the contemporary world, and is designed to challenge the ways one thinks about vocational options in the music industry.
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ETHN 214 - Popular Music and US Urban Identities FC CNDP, DDHU
4 credits
This course explores the role of music in shaping urban landscapes of US cities from an ethnomusicological perspective. The course emphasizes the examination of the role of music in shaping local histories and the role of music as an economic stimulator, a political motivator, and marker of city identity. This class is organized geographically around four US cities: Cleveland, Ohio; New York, New York; Atlanta, Georgia; and Seattle, Washington. This course gives you the critical tools necessary to survey urban landscapes through their musical histories such that you will understand how music works to produce and affirm identities both within the city itself and in conjunction with other identities in the US. After learning the methodologies of ethnomusicology, you will use them yourself by designing a research project on the musical history of a city of your choice. This course is designed to challenge the ways you think about American identities and music.
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ETHN 215 - Pop Music and Media FC CNDP, DDHU CD
4 credits
This class explores the impact that personal and mass media have on the development, growth, circualation, and distribution of pop music in the United States and the UK. Race, class, gender in turn effect the mediation of pop music as creation and consumption drive technological changes. From 45s and LPs to radios, car stereos to personal entertainment devices, cable television to computers, mp3s to internet streaming, various media forms have dramatically influenced access to and the content of the most consumed music in the world.
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ETHN 216 - The Public Intellectual & Arti FC CNDP, DDHU
4 credits
This course invites students to consider the role of the artist and the intellectual in public life. We will look at the scholarly work of public intellectuals and music of popular artists to consider the ways academic arguments and musical innovation are translated for public audiences. Through their work, these thinkers ignite passionate debate, introduce cutting-edge ideas, and bridge the gap between the liberal arts and the broader world in which we live. Required for the “Student as Artist and Intellectual: Gleaning for the Legacy of Shirley Graham DuBois” StudiOC learning community.
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ETHN 222 - Building Community Through Music FC CNDP
4 credits
Students will assist in teaching a community-engaged musical ensemble for underserved youth in Lorain County. In the first module, you will learn about best practices of community engagement, the emerging field of ‘community music” and the relationship between ethnomusicology and community-based work; conduct demographic and ethnographic research to understand the local community in which the partner is based; and then turn your attention to pedagogy and designing lesson plans. In the second module you will work directly with the youth as you learn how to facilitate music-making using the Javanese Gamelan. Prerequisites and notes: Prior gamelan experience not required; musical experience is desired.
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ETHN 302 - Musical Thought: Analysis of World Music FC CNDP, DDHU CD
4 credits
An advanced seminar in how people think and structure music around the world, using select case studies to look at aspects of rhythm, pitch, texture, form, and composed versus improvised elements. It will also take into account indigenous approaches to theory, analysis, and notation. Emphasis will be on analysis and transcription, including experimentation with alternative systems sensitive to demands of the specific practice.
Prerequisites & Notes: Completion of Music Theory IV and Aural Skills IV and consent of the instructor. (Theory prerequisite may be waived by permission of the instructor.) This course should not affect the requirements of other departments.
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ETHN 303 - Ethnomusicology as Activism FC CNDP, DDHU
4 credits
This course explores how skills developed through the study of ethnomusicology can be applied to real-world problems. How might we become advocates for social and environmental justice or use music to contribute to conflict resolution? The first module explores the field of applied ethnomusicology and best practices in community-engaged learning. The second module is practical: students will partner with a community organization, thinking about how to use music to help the organization achieve their goals.Pre-requisites: MHST 101, ETHN 100, CMUS 103, or MHST 290 (AAST 171/JAZZ 290), and consent of the instructor.
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ETHN 304 - Decolonizing Ethnomusicology: Moving from Colonial Approaches of Extraction to Community Engagement FC CNDP DDHU CD
4 credits
What does it mean to decolonize ethnomusicology? This course moves from a consideration of colonial practices of extraction to models of community-engaged collaboration, repatriation and dissemination, while critically examining and engaging the discourse of “decolonization.” The first module employs a hands-on approach to history by engaging primary source materials from the late 19th and early 20th centuries focusing on colonial technologies (e.g. phonograph), institutions (e.g. archives, museums, educational institutions, recording industry, world’s fairs), and individuals. The second module shifts our attention to practices and methodologies necessary in any attempt to decolonize, including prioritization of BIPOC voices. The class is part intellectual history of the anthropological and ethnomusicological engagement with sound, part examination of how knowledge is produced and disseminated, and part methodology (how we could do research and disseminate it). Each student will work on personal contributions to the class Digital Humanities site in order to make knowledge publicly accessible.
Prerequisites & Notes: ETHN 100 or CMUS 103 suggested; and/or ETHN course @200 level.
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ETHN 305 - Interpreting Tom Tom: An Epic of Music and The Negro FC CNDP DDHU CD
4 credits
This seminar will examine the groundbreaking opera of Oberlin Conservatory alumna, author, composer, and musicologist Shirley Graham Du Bois (1934). In 1932, she was commissioned to compose and direct “Tom Tom,” the first opera by a Black woman that chronicles the Negro experience across a centuries-long history from the transatlantic slave trade to the Harlem Renaissance.This course invites students to comprehensively explore the contexts in which “Tom Tom” resides through ethnomusicological and dramaturgical research methods.We will interpret the score and libretto with significant attention to Graham’s construction of Africana vernacular music, literary and performance traditions within an emergent American classical music scene, and her implementation of ritual and Pan-Africanist ideologies.Activities will include comparative readings between music, theatre, and cultural studies, stylistic and textual analysis, research papers, class presentations, and discussion.Particular emphasis will be given to developing individual research projects.
Prerequisites & Notes: Consent of the instructor required.
ETHN 305: At least one course in MHST or ETHN at the 200 level, with MHST 290/91 especially advantageous.
AAST/THEA 305: Preference will be given to students who've taken AAST/THEA 264, 268, 278, or THEA 309.
This course is cross-listed with AAST 305, THEA 305
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ETHN 995F - Private Reading - Full FC CNDP
4 credits
This course focuses on the production, reception, and functions of contemporary Black music. Both Black Lives Matter movement and dramatic domestic political change serve as context for exploration. Students will use an ethnomusicological approach to explore pertinent themes including: the emergence of new Black music genres and the identities they signify; how they public performance of Black music exists within the context of gentrification and protest and; the role of Black music as affirmation/resistance/catharsis. Throughout the semester students will directly engage the work of musicians, artists, and scholars. The course will culminate with a public presentation of students’ findings.
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ETHN 995H - Private Reading - Half HC CNDP
2 credits
This course focuses on folk and popular music of Latin America, with emphasis on theories of cosmopolitanism, appropriation, circulation, and reception. In this class students explore musical styles as they change in response to global and technological forces. Additionally, students explore the ways that Latin American musicians adapt to and challenge the dynamism of globalization, finding outlets in diasporic communities as inequitable political systems affect cultural creativity.
Prerequisites & Notes: CMUS 103, ETHN 100, or consent of the instructor.
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Historical Performance |
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HPRF 110 - Piano Music in Performance CNDP, DDHU
2 credits
We will explore issues of style and interpretation through the close examination of recordings, focusing especially on those made by composers or performers closely associated with them, and those that feature historical keyboard instruments. Examples will be drawn from music by Bartok, Rachmaninoff, Schumann, Chopin, Beethoven, Mozart, and Bach.
Prerequisites & Notes: For keyboard division majors/minors. Consent required by instructor.
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HPRF 111 - Historical Performance in Context: Music of France CNDP
1 credit
First of a projected set of four courses designed to introduce students to a wide range of styles. Each course focuses on the music of a different country and will include an overview of the significant repertoire as well as the historical context (art, politics, and society).
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HPRF 112 - Historical Performance in Context: Music of England CNDP, DDHU
1 credit
One of a set of four courses designed to introduce students to a wide range of styles. Each course focuses on the music of a different country and will include an overview of the significant repertoire as well as the historical context (art, politics, and society).
Prerequisites & Notes: Consent of instructor required.
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HPRF 113 - Historical Performance in Context: Music of Italy CNDP
1 credit
One of a set of four courses designed to introduce students to a wide range of styles. Each course focuses on the music of a different country and will include an overview of the significant repertoire as well as the historical context (art, politics, and society). The course will be team-taught by members of the HP program and guests.
Prerequisites & Notes: Consent of instructor required.
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HPRF 114 - Historical Performance in Context: Music of Germany CC CNDP DDHU
1 credit
One of a set of four courses designed to introduce students to a wide range of styles. Each course focuses on the music of a different country and will include an overview of the significant repertoire as well as the historical context (art, politics, and society). The course will be team-taught by members of the HP program and guests.Notes: Consent of the instructor required.
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HPRF 121 - Performing Beethoven’s Violin Sonatas CNDP
1 credit
This course gives students the opportunity to play in a workshop setting with David Breitman at the fortepiano (pitch=A440). Each student will prepare a different movement each week (6 movements over the module). Prior experience with a period violin/bow is neither required nor expected; students may use their modern violin in this course. Differences between the modern and earlier violin will be touched on, however, and interested students may be able to borrow equipment,depending on availability.
Prerequisites & Notes:
Violin majors only (permission of the principal teacher required).
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HPRF 122 - Performing Beethoven’s Cello Sonatas CNDP
1 credit
This course gives students the opportunity to play in a workshop setting with David Breitman at the fortepiano (pitch=A440). Each student will prepare a different movement each week (6 movements over the module). Prior experience with a period cello/bow is neither required nor expected; students may use their modern cello in this course. Differences between the modern and earlier cello will be touched on, however, and interested students may be able to borrow equipment,depending on availability.
Prerequisites & Notes:
Cello majors only (permission of the prinicpal teacher required).
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HPRF 302 - Introduction to Historical Performance FC CNDP DDHU
4 credits
What does a score tell us? What does it not tell us? And what is expected of the performer? A study of changing performance styles in music from the 19th century to the Middle Ages. Topics include the evolution of instruments, ensembles, and orchestras; and conventions of rhythm, tempo, articulation, phrasing, and ornamentation. Students will compare editions and prepare an edition themselves.
Prerequisites & Notes: MHST 101 and one 200-level Music History course are suggested. ESOL 130 or testing equivalent is required of International students.
Does this course require off campus field trips? No
This course is cross-listed with MHST 302
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HPRF 303 - Seminar in Performance Practice HC CNDP, DDHU
2 credits
For students specializing in Historical Performance. Close reading of historical treatises, and the application of precepts found in the treatises to actual performance, workshop-style, in class. This class is cross-referenced with HPRF 312 but with additional assignments for graduate students.
Prerequisites & Notes: Prerequisite: HPRF 302/502 (or MHST 302).
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HPRF 312A - Perform Pract: Clavichord I CNDP, DDHU
1 credit
Topic to be announced. One group meeting and one individual meeting per week, schedule TBD.
Prerequisites & Notes: HPRF 302 (or MHST 302). Also see HPRF 512. Note: May be repeated for credit if the topic changes.
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HPRF 312B - Special Topics in Performance Practice CNDP
1 credit
Topic: Musical performance in the 20th century. A study of changing 20th century attitudes, tastes, and approaches to the performance of orchestral, vocal, chamber, and keyboard repertoires. Performing styles and traditionswill be xamined by listening to recordings of historical significance. Also covered will be the ‘Early Music’ revival and the critical issues central to t he ‘authenticity’ movement of the past 30 years.
Prerequisites & Notes: Prerequisite: HPRF 302 (or MHST 302). Also see HPRF 512B. Note: May be repeated for credit if the topic changes. Consent of instructor required.
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HPRF 502 - Introduction to Historical Performance FC CNDP, DDHU
4 credits
What does a score tell us? What does it not tell us? And what is expected of the performer? A study of changing performance styles in music from the 19th century to the Middle Ages. Topics include the evolution of instruments, ensembles, and orchestra; and conventions of rhythm, tempo, articulation, phrasing, and ornamentation. Students will compare editions and prepare an edition themselves.This course is cross-referenced with MHST 302.
Prerequisites & Notes: MHST 101, and one 200-level Music History course, or consent of the instructor.
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HPRF 503 - Seminar in Performance Pract HC CNDP, DDHU
2 credits
TBA
Prerequisites & Notes: This course is cross-referenced with HPRF 303, but with additional assignments for graduate students.
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HPRF 512A - Perform Pract: Clavichord I CNDP, DDHU
1 credit
Topic to be announced. One group meeting and one individual meeting per week, schedule TBD.
Prerequisites & Notes: HPRF 302 (or MHST 302). Also see HPRF 512.
Note: May be repeated for credit if the topic changes.
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HPRF 512B - Special Topics in Performance Practice CNDP, DDHU
1 credit
This course is cross-referenced with HPRF 312B but with additional assignments for graduate students.
Prerequisites & Notes: Prerequisite: HPRF 302/502 or MHST 302. Consent of instructor required.
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HPRF 521A - Graduate Studies Hist Perform HC CNDP, DDHU
2 credits
Graduate Studies Hist Perform
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HPRF 521B - Graduate Studies Hist Perform HC CNDP, DDHU
2 credits
This course constitutes an extension to ‘Historical Performance in Context’ (HPRF 111, 112, 113, 114), which is to be taken concurrently. Students will undertake one or two independent research projects relating to the performance practice of national repertoires, to be designed in collaboration with their applied teacher. Two (2) hours of HPRF 521 will be required of each Historical Performance graduate student.
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HPRF 995F - Private Reading - Full CNDP
4 credits
Private Reading - Full
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HPRF 995H - Private Reading - Half CNDP
2 credits
Private Reading - Half
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Jazz Studies |
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JAZZ 100 - Jazz Aural Skills HC CNDP
2 credits
A one-semester course in aural perception devoted to the study of rhythm, scales, melody, harmony, and forms idiomatic to jazz, through sight singing, dictation, and programmed instruction. Consent of instructor required.
Prerequisites & Notes: May be taken concurrently with MUTH 101 (Aural Skills I)
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JAZZ 110 - Jazz Keyboard HC CNDP
2 credits
Designed for musicians whose major instrument is other than piano. Content includes chord symbol interpretation, cycles, sequences, turnarounds, and elementary improvisational concepts. Consent of instructor required.
Prerequisites & Notes: Prerequisite: piano proficiency, which may be satisfied either by successful completion of two semesters of APST 110-111 (Piano Class) or by audition for waiver.
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JAZZ 120 - Jazz Theory FC CNDP
4 credits
Designed to acquaint students with rhythmic, melodic, harmonic, and structural aspects of improvised music, including chord/scale relationships, common chord progressions, chord voicing and harmonization, chord substitution and reharmonizations, melodic transformation, and modal mixture and chromaticism. Emphasis will be placed on the development of analytical and writing skills within the context of such forms as the blues and song forms. Consent of instructor required. Instructor: R. Ferrazza
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JAZZ 121 - Jazz Theory FC CNDP
4 credits
Designed to acquaint students with rhythmic, melodic, harmonic, and structural aspects of improvised music, including chord/scale relationships, common chord progressions, chord voicing and harmonization, chord substitution and reharmonizations, melodic transformation, and modal mixture and chromaticism. Emphasis will be placed on the development of analytical and writing skills within the context of such forms as the blues and song forms. Consent of instructor required.
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JAZZ 130 - Basic Arranging/Composition Techniques HC CNDP
2 credits
Designed to develop writing and arranging skills for various instrumental/vocal combinations. The course will include jazz chord symbology and terminology and basic voicings and scoring methods for brass, reeds, and rhythm instruments.
Prerequisites & Notes: Prerequisite: MUTH 132. JAZZ 130 is prerequisite to JAZZ 131. Not intended for Jazz Composition majors. Alternates with JAZZ 160, 161.
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JAZZ 131 - Basic Arranging/Composition Techniques HC CNDP
2 credits
Designed to develop writing and arranging skills for various instrumental/vocal combinations. The course will include jazz chord symbology and terminology, basic voicings and scoring methods for brass, reeds, and rhythm instruments. Consent of instructor required.
Prerequisites & Notes: Not intended for Jazz Composition majors Alternates with JAZZ 160, 161 Prerequisite: MUTH 132. JAZZ 130 is prerequisite to JAZZ 131
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JAZZ 160 - Jazz Arranging/Comp Techniques FC CNDP
4 credits
One of a set of four courses designed to introduce students to a wide range of styles. Each course focuses on the music of a different country and will include an overview of the significant repertoire as well as the historical context (art, politics, and society).
Prerequisites & Notes: Consent of instructor required. Limit 30.
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JAZZ 201 - Jazz Improvisation I FC CNDP
4 credits
A course in the technique and performance practice of jazz improvisation, covering the period 1935-60. The course includes historical investigation, transcriptions, aural analysis, rhythmic, harmonic and melodic technical studies, and repertoire development. Additional outside listening is required.
Prerequisites & Notes: Proficiency on a musical instrument; knowledge of scales, key signatures, intervals, and chords. Admission by audition. Required ensemble affiliation.
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JAZZ 202 - Jazz Improvisation II FC CNDP
4 credits
A course in the technique and performance practice of jazz improvisation, covering the period 1935-60. The course includes historical investigation, transcriptions, aural analysis, rhythmic, harmonic and melodic technical studies, and repertoire development. Additional outside listening is required.
Prerequisites & Notes: Proficiency on a musical instrument; knowledge of scales, key signatures, intervals, and chords. Admission by audition. Required ensemble affiliation.
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JAZZ 204 - Stage, Story, & Song HC CNDP
2 credits
The goal of this course is to raise awareness and understanding of the importance and internal aspects of honest storytelling in vocal performance. The course will teach students how to effectively understand and interpret lyrics, as well as incorporate personalized stage presence techniques into their performance. In addition to dealing with the outward physical concerns of performance presentation, the course will also address issues such as vocal health, conquering stage fright, working and communicating with fellow musicians, proper microphone technique, and the breaking of bad habits.
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JAZZ 221 - Jazz Theory II FC CNDP
4 credits
Designed to acquaint students with rhythmic, melodic, harmonic, and structural aspects of improvised music, including chord/scale relationships, common chord progressions, chord voicing and harmonization, chord substitution and reharmonizations, melodic transformation, and modal mixture and chromaticism. Emphasis will be placed on the development of analytical and writing skills within the context of such forms as the blues and song forms.
Prerequisites & Notes: JAZZ 120 or JAZZ 120 Test-Out.
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JAZZ 290 - Introduction to African American Music FC CNDP, DDHU CD
4 credits
The first semester of a one-year survey of musical styles and forms cultivated by African Americans. First semester includes West African music and West African continuity in the American, early African American instrumental-vocal forms, and the social implications of African American music. Second semester includes later instrumental and vocal music (jazz, blues, rhythm and blues, gospel, soul, etc.) and important composers and performers of works in extended forms.
Prerequisites & Notes: Cross listed with AAST 171 and MHST 290.
This course is cross-listed with AAST 171 and MHST 290
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JAZZ 291 - Introduction to African American Music FC CNDP, DDHU CD
4 credits
The second semester of a one-year survey of musical styles and forms cultivated by African Americans. First semester includes West African music and West African continuity in the American, early African American instrumental-vocal forms, and the social implications of African American music. Second semester includes later instrumental and vocal music (jazz, blues, rhythm and blues, gospel, soul, etc.) and important composers and performers of works in extended forms.
Prerequisites & Notes: Cross listed with AAST 172 and MHST 291.
This course is cross-listed with AAST 172 and MHST 291
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JAZZ 301 - Jazz Improvisation III FC CNDP
4 credits
A continuation of concepts introduced in JAZZ 201, 202 (Jazz Improvisation I and II), and an introduction to more recent improvisational concepts such as absence of a pulse, panmeter, and polymeter.Prerequisite: JAZZ 202 (Jazz Improvisation II)
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JAZZ 302 - Jazz Improvisation IV FC CNDP
4 credits
A continuation of concepts introduced in JAZZ 201, 202, 301 (Jazz improvisation I, II, & III), and an introduction to more recent improvisational concepts such as absence of a pulse, panmeter, and polymeter.Prerequisite: JAZZ 301 (Jazz Improvisation III)
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JAZZ 372 - Great Musical Thinkers in the African American Tradition FC CNDP, DDHU
4 credits
Topic: Musical performance in the 20th century.
A study of changing 20th century attitudes, tastes, and approaches to the performance of orchestral, vocal, chamber, and keyboard repertoires. Performing styles and traditionswill be xamined by listening to recordings of historical significance. Also covered will be the “Early Music” revival and the critical issues central to t he “authenticity” movement of the past 30 years.
Prerequisites & Notes: Prerequisite: HPRF 302 (or MHST 302). Also see HPRF 512B.
Note: May be repeated for credit if the topic changes.
Consent of instructor required.
Enrollment Limit: 30.
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JAZZ 700 - Jazz Ensemble-Large Group HC CNDP
2 credits
The ensemble performs a variety of large ensemble literature ranging from the music of Fletcher Henderson and Duke Ellington to the master composers of the present. Consent of instructor required.
Prerequisites & Notes: Admission by audition.
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JAZZ 701 - Oberlin Jazz Lab- Large Ensemble HC CNDP
2 credits
Formative large jazz ensemble that offers opportunity to work on section playing skills and develop repertoire. Admission by audition.
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JAZZ 702 - Gospel Chorus HC CNDP
2 credits
This course is open to students who desire to experience singing gospel music. It will cover the diaspora of gospel music, including everything from field songs passed on in the oral tradition from Africa, to modern gospel repertoire that can incorporate elements of R&B, classical, neo-soul, jazz, and folk. The focus of this class will be on phrasing, stamina, and three- and four-part singing to achieve the authentic sound of gospel music.Prerequisites and notes: A basic understanding of musical theory is a plus, but not required. Should be able to blend with other voices. Students not in the school of jazz or the conservatory are required to audition; contact the instructor for details.
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JAZZ 703 - The Oberlin Sonny Rollins Jazz Ensemble HC CNDP
2 credits
The Oberlin Sonny Rollins Jazz Ensemble is an endowed project made possible by the donation of Sonny Rollins. Oberlin jazz majors are accepted into the “Sonny Ensemble” at the point of matriculation at Oberlin or after annual auditions held before the jazz faculty. The group will develop ensemble-playing skills and perform in various settings but also build character through community service. Members of the ensemble complete a non-music service project and perform as part of the touring ensemble during Winter Term.Prerequisites and notes: Open to Jazz Majors by audition.
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JAZZ 803 - Jazz Ensemble-Small Group HC CNDP
2 credits
Groups of 4-9 players. Emphasis will be placed on the performance of a variety of literature and may include writing transcriptions, arrangements and compositions. Attendance at the Jazz Forums and 2 one-hour rehearsals (one with the faculty instructor) a week are required. Consent of instructor required.
Prerequisites & Notes: Recommended to be taken concurrently with JAZZ 201, 202.
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JAZZ 804 - Stage, Story, & Song HC CNDP
2 credits
The goal of this course is to raise awareness and understanding of the importance and internal aspects of honest storytelling in vocal performance. The course will teach students how to effectively understand and interpret lyrics, as well as incorporate personalized stage presence techniques into their performance. In addition to dealing with the outward physical concerns of performance presentation, the course will also address issues such as vocal health, conquering stage fright, working and communicating with fellow musicians, proper microphone technique, and the breaking of bad habits.
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JAZZ 805 - Circle Singing Ensemble HC CNDP
2 credits
This performance-based ensemble will utilize circle-singing methods similar to those developed by Bobby McFerrin in his group Voicestra. Students will learn: The art of spontaneous song creation and composition A deeper set of vocal improvisational skills How to listen effectively in a group How to get out of the “soloist” mindset to focus on becoming one voice in a section or choirThe choir will also sing arrangements exploring the jazz diaspora, R&B, and world music, while allowing room for improvisation. The course will require and foster strong reading and rhythmic skills while further enforcing the concepts of group singing.
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JAZZ 995F - Private Reading - Full FC CNDP
4 credits
Private Reading - Full
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JAZZ 995H - Private Reading - Half HC CNDP
2 credits
Private Reading - Half
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MHST 071 - Music of the 1970s CNDP
2 credits
The 1970s saw a dramatic shift in styles, technologies, and consumption of popular music. The rock industry coalesced while genres splintered, pushing listeners into marketable boxes. In the course, students will uncover the layers of political, social, and cultural shifts in the 1970s that continue to shape and reshape rock and roll and its branches. We will explore hip-hop, prog rock, electronic rock and synth pop, glam, arena rock, disco, soul, R&B, punk, and more. Artists pushed technological innovations as they often eschewed popularity for the sake of their music. Meanwhile, genres re-segregated often along racial lines, producing hotly contested releases that sometimes garnered dramatic critical reception.
Prerequisites & Notes: Must be an incoming Oberlin student.
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MHST 101 - Introduction to the History and Literature of Music FC CNDP
4 credits
A survey of the major developments in the history of Western music including jazz, vernacular music, electronic and computer music, and an introduction to ethnomusicology. Selected major musical works will be considered from a variety of historical standpoints. The course serves as a prerequisite to the MHST courses. Conservatory students are encouraged to register for this course in their freshman year.
Prerequisites & Notes: Knowledge of musical notation.
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MHST 221 - American Music FC CNDP DDHU
4 credits
What does it mean to sound “American”? This course will investigate how “American music has been defined in the United States from the colonial era to the twentieth century. With frequent references to literature and criticism, we will trace the growing rift between so-called classical and popular music in the United States and its implications for composers, performers, and audiences. Topics will include New England Psalmody, shape-note singing, minstrelsy, American opera, Broadway, jazz, serialism, and rock ‘n’ roll.
Prerequisites & Notes: ESOL 130 or testing equivalent is required of International students.
Does this course require off campus field trips? No
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MHST 226 - Music of the Middle Ages and Renaissance FC CNDP DDHU
4 credits
A survey of church and court music from the early Middle Ages to 1600. The course will consider the forging of Western musical traditions within the context of medieval liturgy and the ensuing growth of a variety of genres¿music which richly expresses Romanesque otherworldliness, the ideals of courtly love, Gothic rationalism, the blossoming of the individual in the Renaissance, and the mystical fervor of the Counter Reformation.
Prerequisites & Notes: ESOL 130 or testing equivalent is required of International students.
Does this course require off campus field trips? No
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MHST 235 - Music in the Baroque Era FC CNDP DDHU
4 credits
A survey of music from the rise of monody in the Florentine academies c.1600 to the death of Bach in 1750. The course will consider opera, church music, and instrumental music from multiple perspectives, underscoring the interplay of technical and contextual views. Works by Monteverdi, Schuetz, Bach, Handel and others are studied from the standpoint of form and style, and as expressions of various social forces.
Prerequisites & Notes: ESOL 130 or testing equivalent is required of International students.
Does this course require off campus field trips? No
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MHST 238 - Musical Theater and Opera FC CNDP, DDHU
4 credits
This course will explore the connections between opera in Germany and Brodway musical theater during the 1930s, 1940s, and 1950s. Our investigations will focus on Kurt Weill and his political musical theater, and will branch out to include such topics as Bertolt Brecht, Franz Werfel, George Gerswhin, Richard Rodgers, Oscar Hammerstein II, Marc Blitzstein, and Leonard Berstein. Combining scholarship and performance, this class will culminate in a production of Weill’s musical Love Life.Pre-requisites: One MHST course at the 200-level, Music Theory III or Permission of the Instructor. Required course for the ‘Broadway via Berlin: The Political Musical Theater of Kurt Weill’ StudiOC learning community. Admission by audition and/or interview only.
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MHST 245 - Music in the Classic Era FC CNDP DDHU
4 credits
A survey of music from the mid-18th century through the time of Beethoven. Discussion of developments in Italian and French opera, of German and English instrumental and sacred works, patronage systems and the dissemination of music including its place in the concert repertory today. Particular attention will be paid to instrumental and vocal works of Haydn, Mozart and Beethoven. Three classes plus one listening laboratory per week.
Prerequisites & Notes: ESOL 130 or testing equivalent is required of International students.
Does this course require off campus field trips? No
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MHST 255 - Music of the Romantic Era FC CNDP DDHU
4 credits
A survey of music by principal European composers of the nineteenth century, from 1820-1914. Includes discussion of Beethoven’s late works and their interpretations by later composers, the Italian operatic repertory, Wagner’s Gesamtkunstwerk and its influences, aesthetics of the New German School, the rise of nationalistic music, position of women musicians, development of a concert audience in the United States, Expressionism, Symbolism, and the formation of today’s standard repertory.
Prerequisites & Notes: ESOL 130 or testing equivalent is required of International students.
Does this course require off campus field trips? No
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MHST 255B - Music in the Late Romantic Era HC CNDP, DDHU
2 credits
MHST 255B is a survey of the major genres, styles, and composers of the second half of the Romantic Era (ca. 1848-1914). Particular emphasis will be placed on the development of the symphony and opera, contemporary reaction to Beethoven and Wagner, as well as historical context, concert life, and performance practice.
Prerequisites & Notes: Prerequisites: For College students, none; for Conservatory students, if being used for MHST requirements, MHST 101 (Introduction to the History and Literature of Music); if not being used for MHST requirements, none.
Notes: MHST 255B Music in the Late Romantic Era runs concurrently with MHST 255 Music of the Romantic Era.
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MHST 260 - Desire and the Diva FC CNDP DDHU
4 credits
How is desire musically performed? This course investigates divas - objects, generators, and personifications of musical desire - as performers, cultural products, and artists. We will examine the rise of the diva from the eighteenth century through the present through operas, films, and popular music. Investigating how the diva inhabits desire will allow us to discuss interdisciplinary issues including sexuality, gender, exoticism, and colonialism within dramatic forms. Of particular interest will be the intersection of the diva with performativity, including how divas use desire to create and/or radically reinterpret how a creator envisioned a character through the force of their own personality.
Prerequisites & Notes: ESOL 130 or testing equivalent is required of International students.
Does this course require off campus field trips? No
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MHST 275 - Music Since 1914 FC CNDP DDHU
4 credits
A survey of European and American concert and stage music from 1914 to the present. Topics covered include neoclassicism, serialism, Harlem renaissance, national influences (politics, folk art), electronic music, indeterminacy, minimalism, performance art, post-modernism, viability of avant-garde music today.
Prerequisites & Notes: MUTH 132 Music Theory II or testing equivalent. ESOL 130 or testing equivalent is required of International students. Freshmen and transfer students admitted by consent only.
Does this course require off campus field trips? No
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MHST 290 - Introduction to African American Music FC CNDP DDHU CD
4 credits
The first semester of a one-year survey of musical styles and forms cultivated by African Americans. First semester includes West African music and West African continuity in the American, early African American instrumental-vocal forms, and the social implications of African American music. Second semester includes later instrumental and vocal music (jazz, blues, rhythm and blues, gospel, soul, etc.) and important composers and performers of works in extended forms.
Prerequisites & Notes: Crosslisted with AAST 171 and JAZZ 290. ESOL 130 or testing equivalent is required of International students.
Does this course require off campus field trips? No
This course is cross-listed with AAST 171 and JAZZ 290
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MHST 291 - Introduction to African American Music FC CNDP DDHU CD
4 credits
The second semester of a one-year survey of musical styles and forms cultivated by African Americans. First semester includes West African music and West African continuity in the American, early African American instrumental-vocal forms, and the social implications of African American music. Second semester includes later instrumental and vocal music (jazz, blues, rhythm and blues, gospel, soul, etc.) and important composers and performers of works in extended forms.
Prerequisites & Notes: ESOL 130 or testing equivalent is required of International students.
Does this course require off campus field trips? No
This course is cross-listed with AAST 172 and JAZZ 291
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MHST 301 - Introduction to Music Research and Writing FC CNDP, DDHU WADV
4 credits
A practical course open to all students wishing to develop their skills in writing about music and to familiarize themselves with essential bibliographic and research tools. The course will focus on specific problems and mechanics of preparing a research paper, concert, record and book reviews, program notes, etc.
Prerequisites & Notes: Prerequisites: MHST 101 and one 200-level music history course.Consent of instructor required.
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MHST 302 - Introduction to Historical Performance FC CNDP DDHU
4 credits
What does a score tell us? What does it not tell us? And what is expected of the performer? A study of changing performance styles in music from the 19th century to the Middle Ages. Topics include the evolution of instruments, ensembles, and orchestras; and conventions of rhythm, tempo, articulation, phrasing, and ornamentation. Students will compare editions and prepare an edition themselves.
Prerequisites & Notes: MHST 101 and one 200-level Music History course are suggested. ESOL 130 or testing equivalent is required of International students.
Does this course require off campus field trips? No
This course is cross-listed with HPRF 302
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MHST 303 - Music of Tudors FC CNDP DDHU
4 credits
This seminar focuses on music from c. 1500 to c. 1700 with particular attention to the intertwining of musical style, social function, and monarchial agenda. The repertory under consideration will include the music of the Eton Choirbook, early Tudor songbooks, liturgical works of Tallis and Byrd, Jacobean masque, and sacred, instrumental, and dramatic works by Henry Purcell. An introduction to primary sources will also inform class discourse.
Prerequisites & Notes: One 200-level MHST course is suggested. ESOL 130 or testing equivalent is required of all International students.
Does this course require off campus field trips? No
This course is cross-listed with MHST-503
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MHST 316 - Studies in Opera: Verdi FC CNDP DDHU
4 credits
Giuseppe Verdi’s interest in literature profoundly shaped his approach to writing opera. This course focuses on operas (I masnadieri, Luisa Miller, Don Carlos) that Verdi adapted from plays of Friedrich Schiller; we will use these as examples of how literary models inspired Verdi to push past inherited nineteenth-century operatic conventions. We will additionally examine how the rise of romanticism in Italy and France shaped Verdi’s literary tastes and affected his collaborations with librettists. Significant course time will be devoted to individual research projects, in which students will analyze a Verdi opera of their choice in relation to its literary source.
Prerequisites & Notes: MHST 101 and one MHST 200-level Music History course are suggested.
Does this course require off campus field trips? No
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MHST 319 - Studies in Genre: The Symphonic Poem FC CNDP, DDHU
4 credits
This course follows the emergence of the symphonic poem from its late eighteenth century antecedents, (characteristic symphony, concert overture, melodrama), and how the relationship between words and instrumental music was reevaluated at the beginning of the nineteenth century. Repertoire will include works of Beethoven, Schumann, Liszt, Dvorak, and Strauss, among others. We will consider how critical reception established a philosophy of program music, articulating the tensions between musical representation, formal cohesion, and transcendent meaning. Together we will explore research tools most relevant to this topic, and students will receive continuous support in the preparation of their original research projects.
Prerequisites & Notes: MHST 101 and one MHST 200-level course.
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MHST 322 - Musical Expressions of Gender and Sexuality FC CNDP DDHU
4 credits
From early-modern European salons to the transformista (drag) scene in modern Cuba, music has been inextricably intertwined with expressions of gender and sexuality. This seminar-style course explores a diverse tradition of female, queer, and non-binary contributions to musical life while also considering ways that music has posed a threat to normative masculine and heterosexual identities. Our readings span historical and geographical boundaries and draw from musicology, ethnomusicology, and gender studies. By examining music as a medium for the negotiation of gender and sexuality, we will gain a deeper appreciation of the relationship between music, social power, and resistance.
Prerequisites & Notes: One 200-level course in the Musicology Department.
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MHST 323 - Music Minus 10 FC CNDP, DDHU
4 credits
Exploration of concert music, primarily American, of the last ten years. Topics include Pulitzer Prize winners, composer-in-residence programs and new commissions by symphony orchestras, new commissions by opera theaters, new music groups, new music festivals, and government arts support.
Prerequisites & Notes: Prerequisites: One MHST 200-level course
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MHST 330 - The Modern Keyboard (1700- ): Body, Gender, Race, and Technology FC CNDP DDHU
4 credits
The keyboard is not only a tool for pianists.It shapes how we conceptualize pitch space, compose music, and tune our voices.But for all it affords, it also constrains musical resources.What about the “blue notes” that fall between its keys?This course examines how keyboard technologies have shaped musical history, as well as bodily techniques and constructions of gender and race.It runs from Cristofori’spianoforte to contemporary synthesizers, and touches on topics including partimenti, virtuosity, physiology, microtonalism in Japan, the Steinway firm, the Hindustani harmonium, prepared pianos, Black pianism, ludomusicology, telecommunications, and office secretaries.
Prerequisites & Notes: At least one @200 level music history (MHST) course.
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MHST 331 - Johann Sebastian Bach FC CNDP DDHU
4 credits
A study of Bach’s life and selected works. The course addresses the “new image” of a familiar master which has emerged from the startling research of post-1950 scholars. Through a close study of the cantatas and works such as the Brandenburg Concertos, St. John Passion, and Musical Offering, the class seeks to illumine Bach’s position in various musical traditions, to explore his response to cultural environment, and to describe analytically his expressive vocabulary.
Prerequisites & Notes: ESOL 130 or testing equivalent is required of International students.
Does this course require off campus field trips? No
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MHST 332 - History of Film Music FC CNDP DDHU
4 credits
A comprehensive survey of film music history from the silent era through the present day. Issues discussed will include compositional developments (growth of instrumentation; use of Leitmotivic structure; expansion of diegetic versus non-diegetic music); music as narrative aid (generating continuity; providing momentum; subliminal commentary); and using music as an iconographic character or plot device. Films viewed will include those with soundtracks by major 20th-century composers as well as specialized soundtrack composers.
Prerequisites & Notes: MHST 101 and one 200-level Music History course are suggested. ESOL 130 or testing equivalent is required of International students.
Does this course require off campus field trips? No
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MHST 333 - The Racial Politics of Classical Music FC CNDP DDHU CD
4 credits
As practitioners and academics have deepened their exploration of the issue of race in various artistic fields, one result has been a flood of articles and books examining systemic racism in the performance and pedagogy of classical music. This course provides students with an overview of the relevant literature at the intersection of race and classical music. Particular attention is paid to challenges surrounding the integration of Black American musical idioms and styles within classical music. Topics covered include culturally responsive pedagogy; critical race theory; Black musical aesthetics; decolonization; and anti-racism.
Prerequisites & Notes: MHST-101 Music History 101 or other introductory musicology courses are suggested.
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MHST 336 - Philosophy of Music FC ARHU
4 credits
As a unique College-Conservatory collaboration, this course encourages any student who cares about music to reflect on its nature and significance. With a focus on Western art music, the course introduces students to key texts and arguments in musical aesthetics. Topics include the nature of the musical work, the relation between music and the emotions, and ways in which music can be meaningful. Students will be responsible for attending the T-TH lecture and one Friday discussion section. Please register for the section that has a discussion section which will work with your student schedule.
Prerequisites & Notes: 1 full course in philosophy OR 1 200-level course in music history OR consent of instructors. Cross-listed with PHIL 231.
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MHST 337 - Introduction to Organology FC CNDP, DDHU WADV
4 credits
This course will focus on a number of late eighteenth- and early nineteenth-century musical instruments from the Frederick R. Selch Collection of American Music History. Our goals will be (1) to learn how modern orchestral instruments developed, especially in the United States, and (2) to examine how the performance of music enabled people to intervene in social, political, and economic situations of their day. As music historians our goal will be to analyze a series of historical objects to ascertain the various ways musical behavior both influenced and responded to many aspects of social life; as performers and composers our goal will be to contemplate how our daily interactions with our own musical objects imply, not only a familiar artistic praxis, but a way of seeing. Each student will be responsible for creating a portion of public exhibition that will go on display at the end of the semester.
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MHST 342 - Fin-de-Siècle Music in Germany and France FC CNDP DDHU
4 credits
Musicians living at the end of the 19th century in France and Germany proclaimed the rise of naturalism, impressionism, expressionism, symbolism, primitivism, Dadaism, and many more such movements. Why so many “isms”? This course will situate the large number of musical and artistic movements that proliferated in Germany and France at the end of the 19th century into their broader social, political, and philosophical contexts. Our studies will cover the music of Fauré, Debussy, Ravel Satie, Busoni, Reger, Richard Strauss, and Mahler.
Prerequisites & Notes: One 200-level MHST or ETHN course. ESOL 130 or testing equivalent is required of International students.
Does this course require off campus field trips? No
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MHST 344 - Making American Music-Selch FC CNDP, DDHU
4 credits
This hands-on, collaborative course will examine eighteenth- and nineteenth-century musical instruments, books, art, and other ephemera from the Frederick R. Selch Collection of American Music History. Our goal will be to discover how people have written, performed, and consumed music in the United States from aesthetic, political, and economic standpoints. Each student will be responsible for creating a portion of public exhibition that will go on display at the end of the semester. Pre-requisites: MHST 101 and one 200-level music history course.
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MHST 347 - What’s That Sound? The History and Development of Instruments (Frederick R. Selch Collection) FC CNDP, DDHU
4 credits
This hands-on, collaborative course will explore how the construction, use, and sounds of instruments have changed over time. This class will work directly with instruments in the Frederick R. Selch Collection of American Music History, and will involve frequent visits to instrument makers, restorers, and collections in and around Oberlin. Each student will be responsible for creating a portion of public exhibition that will go on display at the end of the semester.Pre-requisites: MHST 101 and one 200-level music history course.
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MHST 351 - Ludwig van Beethoven FC CNDP, DDHU
4 credits
A study of the life and works of the composer. Selected compositions will be examined by considering such aspects as compositional sketches, stylistic development, performance practices, and cultural environment. Consent of instructor required.
Prerequisites & Notes: Prerequisites: MHST 101 and one 200-level music history course.
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MHST 353 - Opera in US since 1950 FC CNDP, DDHU
4 credits
A study of operas composed and produced on American stages since 1950, including tonal, modern, postmodern, minimalist, and experimental works; also, of American institutions producing operas and their audiences. Emphasis will be on operas composed since 1985, including some by European composers. Consent of instructor required.
Prerequisites & Notes: Prerequisite: One 200-level music history course.
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MHST 357 - Charles Ives’s Musical Universe FC CNDP DDHU
4 credits
This seminar-style course examines the music, writing, and historiography of Charles Ives, an enigmatic figure in American musical history. We will examine Ives’s use of borrowed melodies and their meanings, his connections to philosophy (especially but not exclusively New England transcendentalism), his unique writings, analysis of his works, his career in- and outside music, his cultural milieu and relationship to American society, and his reception both during and after his life. Activities will include in-depth reading, stylistic analysis, class presentations and discussion. Significant attention will be paid to developing individual research projects.
Prerequisites & Notes: MHST 101 and one 200-level Music History course are suggested. ESOL 130 or testing equivalent is required of International students.
Does this course require off campus field trips? No
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MHST 361 - Robert Schumann FC CNDP, DDHU
4 credits
Robert Schumann
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MHST 362 - Music, Politics, and the Western Canon, c.1800 FC CNDP, DDHU
4 credits
The world was no less plagued with conflict than it is today in the decades around the year 1800; rebellion, war, and migration engulfed Europe and the globe. While historians have closely examined the social political events of the period between Mozart’s death and the rise of Beethoven, its music has received only cursory attention by comparison. But the music created during this turbulent and transformative era would prove crucial in the development of the Western musical canon. This interdisciplinary course examines the intersections of music, politics, and aesthetics to understand more completely the formative years of the Western canon.Pre-requisites: One two-hundred level course in music history or the consent of the instructor.
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MHST 400 - Senior Honors FC CNDP, DDHU
4 credits
For additional information, see ‘Undergraduate Programs,’ Division of Musicology.
Prerequisites & Notes: Note: Open only to music history majors admitted to the Honors Program.
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