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 https://courses.yale.edu.

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.

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.

Musicianship and Theory

MUS 500a, Fundamentals of Analysis and Musicianship 4 credits. NP. Intensive review of the fundamental elements of musical literacy, analysis, and musicianship in tonal and post-tonal contexts. To be followed by MUS 502. Enrollment by placement exam. Students in MUS 500 may not enroll concurrently in any course designated as a Group A. Faculty

MUS 501a, Analysis and Musicianship I 4 credits. NP. Introduction to analysis and musicianship in tonal and post-tonal contexts. To be followed by MUS 502. Enrollment by placement exam. Faculty

MUS 502a,b, Analysis and Musicianship II 4 credits. NP. Intermediate analysis and musicianship in tonal and post-tonal contexts. Enrollment by placement exam. Faculty

MUS 520a, Analysis of Béla Bartók’s String Quartets 4 credits. NP. Group A. In this class, we analyze the six string quartets of Béla Bartók. We mostly do our own in-depth analyses of these pieces, but secondarily we 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, which can be provided to the students as pdfs. The goal of the course is to illuminate this extraordinary part of Bartók’s output—a landmark in the twentieth-century chamber music repertoire—and to be able to focus on each quartet in great depth, so that students can gain a close perspective of this music. Hannah Lash

MUS 592b, The Songs and Symphonies of Gustav Mahler 4 credits. NP. Group A or B. This course surveys the career-spanning creative output of Gustav Mahler (1860–1911), balancing close analytical investigations of individual works with wide-ranging considerations of their historical, philosophical, and critical contexts. Front and center is the music itself: its bold and idiosyncratic use of harmony and orchestral color; its daring, even radical eclecticism; its spiraling contrapuntal sophistication; and above all its rich and multidimensional narrative complexity. All reward close study. But around the music swirls a constellation of long-contested issues: the relevance of Mahler’s own programs and paratexts; the relation of art to lived experience; the capacity of instrumental music to tell stories or “narrate”; and the symphonies’ stance toward tradition at the dawn of musical modernism. So in grappling with each work, we also have to contend with reception traditions that are varied, complex, and at times irreconcilable. And yet each illuminates some vital aspect of a corpus that is as perplexing and self-contradictory as the man behind it, the absolute-music partisan whose symphonies were programmatic through and through. Course requirements include weekly listening, reading, and analytical work, three brief response papers (1–4 pages), occasional oral presentations, and a final oral examination on topics chosen by the student. Seth Monahan

MUS 610a, Score Reading and Analysis 4 credits. NP. Group A. The basics of score reading, understanding of orchestral instruments, and analysis of form, style, and harmony from the Baroque and Classical periods. Developing clef, transposing, and score-reading skills at the keyboard. Permission of the instructor required. Prerequisites: some keyboard skills, regular daily access to a keyboard outside of Yale, ability to read both treble and bass clefs. William Boughton

MUS 688b, Eighteenth-Century Counterpoint 4 credits. NP. Group A. In this class, students learn eighteenth-century counterpoint through intensive study of selected works mainly by J.S. Bach and through weekly composition assignments. The goal of the class is to become proficient with the techniques of contrapuntal composition in an eighteenth-century style. We begin by considering historical context and becoming conversant with two-voice counterpoint in a modified species approach. We move from there through three-voice composition, branching out from a species-type approach and becoming familiar with various musical forms and genres of the time. Prerequisite: MUS 502 (may be taken concurrently) or passing the Analysis and Musicianship exam. Hannah Lash

MUS 710b, Score Reading and Analysis 4 credits. NP. Group A. Developing score reading and analysis from MUS 610 of music from the Romantic and modern periods through playing, listening, historical perspective, and analysis. Continuing development of score-reading skills at the keyboard. Permission of the instructor required. Students must have access to a keyboard for practice and class participation. William Boughton

Composition

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 one another and critique it ourselves. All are welcome. David Lang

History and Analysis

MUS 511b, Music before 1750 4 credits. NP. Group B. An analytic and cultural survey of European music before 1750. Alongside detailed examination of notated repertoire representing the major styles, genres, and composers of the period, the course explores the roles of listeners and performers, the social contexts of music making, and the relationships among notated and vernacular music. Topics include the development of the modern notational system, the transmission of music as a result of social and power structures, vernacular traditions of music making, the place of music in relationship to changing world views and cosmologies, the relationship between music and language, the emergence of independent instrumental music, and the development of musical form. The course explores both music that was incorporated in the canon of Western music but also composers and musical traditions that were marginalized. Enrollment by placement exam. May be taken as an elective, space permitting. Markus Rathey

MUS 512a,b, Music from 1750 to 1900 4 credits. NP. Group B. An analytic and cultural survey of music from the European tradition between 1750 and 1900. Alongside detailed examination of notated repertoire representing the major styles, genres, and composers of the period, the course explores the roles of listeners and performers, the social contexts of music making, and the relationships among notated and vernacular musics. Topics include the development of dramatized functional tonality and chromatic harmony, the interplay of vocal and instrumental genres, the publishing marketplace and the evolution of musical gender roles, the depiction of exotic otherness in musical works, the rise of nationalism and its influence on the arts, and the origins of modern notions of classical music. Enrollment by placement exam. May be taken as an elective, space permitting. Paul Berry [F], Lynette Bowring [Sp]

MUS 513a,b, Music since 1900 4 credits. NP. Group B. An analytic and cultural survey of European and American music since 1900. Alongside detailed examination of notated repertoire representing the major styles, genres, and composers of the period, the course explores the roles of listeners and performers, the social contexts of music making, and the relationships among notated and vernacular musics. Topics include modernist innovations around 1910, serialism and neoclassicism in the interwar period, the avant-gardes of the 1950s and 1960s, minimalism and other postmodern aesthetics of the 1970s and beyond, and consideration of relevant traditions of popular music throughout the period. Enrollment by placement exam. May be taken as an elective, space permitting. Lynette Bowring [F], Robert Holzer [Sp]

MUS 523b, Phrase, Form, and Affect in the Classical String Quartet 4 credits. NP. Group A or B. A study of expressive potential and interpretive implication in the string quartets of Haydn, Mozart, and Beethoven. Through close historical and music-analytic engagement, the course helps the student develop a flexible and nuanced approach to the articulation of phrase groups, the interpretation of large-scale form, and the exploration of affect, style, and musical values. The goal is a detailed reckoning with the repertoire that, more than any other, has come to define the ideals of chamber music and the idea of classical music itself. Quartets are chosen in part according to students’ interests and current performance projects, and performance in class is encouraged. Among works addressed are Haydn’s Opus 20, 33, 64, and 76; Mozart’s K. 387, 421, 465, and 590; and Beethoven’s Opus 18, 59, 95, and 132. Course requirements include weekly listening and short readings, three brief response papers (1–4 pages), occasional oral presentations, and a final examination on topics chosen by the student. Paul Berry

MUS 547a, Text, Form, and Narrative in Instrumental Music 4 credits. NP. Group A or B. A study of programmatic text, musical form, and implied narrative in instrumental music from its origins to the present. Beginning from the seventeenth century and proceeding through the fruition and collapse of functional tonality, the course addresses a wide range of repertoire via historically grounded case studies in the interaction between instrumental music and the titles and texts that originally accompanied it. The goal is a fluid and stylistically sensitive approach to musical storytelling through harmony, affect, and form in both small and large-scale genres, from solo works for keyboard or violin to symphonies and concerti. Among composers addressed are Marini, Froberger, Biber, Vivaldi, Bach, Haydn, Beethoven, Mendelssohn, Schumann, Berlioz, Liszt, Hensel, Rimsky-Korsakov, Brahms, Strauss, Dukas, Dvorˇák, Debussy, Schoenberg, Still, Messiaen, Ellington, Takemitsu, Ligeti, and Gubaidulina. Course requirements include weekly listening and short readings, three brief response papers (1–4 pages), occasional oral presentations, and a final examination on topics chosen by the student. Paul Berry

MUS 560b, Research and Editions 4 credits. NP. Group B. The goal of this course is to discover and evaluate performing editions and recordings of musical compositions that, in the students’ opinions, best exemplify a composer’s intent by developing library research skills in order to locate and critically evaluate library resources that will guide and support the student’s needs. Students select a composition from the standard repertoire that is relevant to them, as well as a composition by a living composer from an underrepresented population; identify and evaluate performing editions (three maximum) and recordings (three maximum) of each that represent the most authoritative version as well as the least; maintain a research journal by way of weekly course assignments and essays; build an annotated bibliography of resources used; and provide documented findings to support the evaluations and articulate the reasons for their selections clearly, and to compare the amount and types of resources that are available for research for each of the two compositions selected, both in writing and as a final presentation to the class. Ruthann B. McTyre

MUS 570b, Schubert’s Last Year 4 credits. NP. Group B. This course focuses on the extraordinary music written by Franz Schubert in his last year of life. We analyze and discuss this music in great depth, with the goal of arriving at a thorough and sensitive understanding of it from an analytical and historical perspective. Pieces include the Quintet in C major, the last three piano sonatas, the Mass in E-flat major, and several of the late songs. The primary purpose of the class is to gain an intimate and firsthand knowledge and understanding of Schubert’s late music, so while some reading is assigned, the main emphasis is on doing our own analyses of this music. Readings are drawn from various sources, including Susan Wollenberg’s Schubert’s Fingerprints: Studies in the Instrumental Works, Leo Black’s Franz Schubert: Music and Belief, Otto Erich Deutsch’s Schubert: A Documentary Biography (trans. Eric Blom), and Suzannah Clark’s article “Schubert, Theory and Analysis.” Analytical methods used draw upon (but are not limited to) some aspects of Schenker’s theory. As a reference point, we also review concepts of classical form, which help elucidate some of Schubert’s innovations and specific proportional features in the music. Course requirements include two substantive (20 pages) papers, one due at midterm, the other at the end of the term, detailing the student’s analyses of late Schubert; students choose which piece(s) to analyze, with approval of the instructor. Students are expected to participate fully in class discussions and to have prepared for each class by listening to and studying the score to each piece to be discussed. Hannah Lash

MUS 573a, Introduction to Jazz, Race, and Gender 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 artists/styles from the 1880s through the 1970s; an examination of the social, racial, gendered, and economic factors that gave rise to jazz styles; and how jazz developmental patterns are represented in today’s popular music. This introductory course may be redundant for students who have already had significant studies 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 in the future. Course work is done through a combination of online work, short essays, group discussion, and reading assignments. Thomas C. Duffy

MUS 589a, Approaches to the Classical Style 4 credits. NP. Group A or B. An examination of modern 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; Leonard Meyer and Robert Gjerdingen on schemata; Elisabeth Le Guin on performance and the body; Julia Doe on the impact of the French Revolution; and Malcom Cole on racism during the Enlightenment. Robert Holzer

MUS 626a,b, Performance Practice before 1750 4 credits. NP. Group B. How are we to perform music from the Baroque era (ca. 1600–1750)? The diverse styles of the instrumental and vocal music composed during this period elicit widely differing responses from instrumentalists and singers attuned to pre-Classical 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. The topics we explore include Baroque sound, rhetoric, ornamentation and improvisation, vibrato, text-music relationships, tempo and meter, rhythmic alteration, dynamics, pitch, temperament, editions, and basso continuo. We compare period instruments to their modern counterparts through live performance and recordings as well as discuss differences in national styles throughout this period. Arthur Haas, Daniel Lee

MUS 634b, The History and Repertoire of the Wind Band 4 credits. NP. Group B. A study of the history and repertoire of the wind orchestra—an ensemble that includes the wind band, the wind ensemble, and the symphonic wind ensemble. The course begins with a historical overview of wind consorts in the Middle Ages and progresses to the wind band/ensembles of the twenty-first century. Repertoire studies include sections of the Gran Partita (Mozart), Serenade for Winds (Dvorˇák), Serenade for Winds (Strauss), Petite Symphonie (Gounod), First Suite (Holst), Lincolnshire Posy (Grainger), Symphony in B-flat (Hindemith), Music for Prague 1968 (Husa), and other pieces from the later twentieth and twenty-first centuries. This course has an online component and a pedagogical unit—students have to prepare a teaching unit at the end of the course, focusing on a wind band topic of their choosing. Thomas C. Duffy

MUS 639a, Staging Race in Eighteenth-Century Opera 4 credits. NP. Group B. Opera has always been more than simply entertainment. As a mirror of the society in which it was written, an opera can celebrate the undying love between two protagonists, postulate the lofty ideals of an enlightened brotherhood, or indulge in fantasies about European supremacy and the inferiority of people with a different skin color. This course explores aspects of race and racism in eighteenth-century opera by exploring in detail two exemplary works: Jean-Philippe Rameau’s Les Indes Galantes (The Amorous Indies, 1735) and Wolfgang Amadeus Mozart’s Die Zauberflöte (The Magic Flute, 1791). The examination of the musical settings, the libretti, as well as the cultural context shows how the compositions encode contemporary understandings of race and of otherness in their works. As performers of these works, twenty-first-century musicians have to find ways to deal with these understandings. Can the pieces still be performed? Should they be performed with disclaimers or rewritten? The course looks at several modern productions of the operas by Rameau and Mozart that have tried to eliminate racist aspects or that have put the eighteenth-century pieces into a dialogue with a modern understanding of race and racial equality. Requirements include regular attendance and participation in classroom discussion, in-class presentations, and a final written project. Markus Rathey

MUS 649b, The Passion in Eighteenth-Century Music 4 credits. NP. Group B. The Passion of Christ is not only a seminal text for the Christian faith but has also inspired countless composers to set the words to music. Especially during the eighteenth century, at a time when sacred music had adopted stylistic devices from the operatic stage to express human emotions, the tradition of passion composition reaches its dramatic peak. The course surveys the multitude of ways in which eighteenth-century composers and musicians have responded to the passion narrative. The topics range from liturgical chanting of the passion in different Christian traditions to Bach’s settings for the Lutheran liturgy, and from dramatic settings based on a text by opera librettist Metastasio to the function of music in Mexican passion plays in Nahuatl. Requirements include regular attendance and participation in classroom discussion, in-class presentations, and a final written project. Markus Rathey

MUS 651a, Women in Western Art Music 4 credits. NP. Group A or B. Women’s musical activities, creative voices, and varied methods of engaging with music form the focus in this broad survey of women in Western art music. In addition to hearing and discussing music by composers from Hildegard of Bingen through Caroline Shaw, the course considers the various roles women have played in the wider cultural history of Western art music: as professional and amateur performers, teachers and students, music printers and collectors, listeners, curators, and patrons. These topics are illustrated by case studies from recent research; the course also includes discussion of how histories of women in music have developed, alongside some influential studies from feminist musicology. Lynette Bowring

MUS 652a, American Mavericks in Concert Music, 1900–1970 4 credits. NP. Group A or B. This course looks at the arc of American experimentalism over the course of the twentieth and twenty-first centuries and is offered over two terms (though each of the two courses may be taken without the other as a prerequisite). John Cage wrote that “an experimental action is one the outcome of which is not foreseen.” The musicologist David Nicholls distinguishes experimentalism from the avant-garde thus: “…very generally, avant-garde music can be viewed as occupying an extreme position within the tradition, while experimental music lies outside it.” A vibrant strain of experimental American thought, often free of the sense of a directional “lineage” found in European modernism, is full of iconoclastic and passionate thinking, and worthy of study. This first term of the course deals with experimental music in the United States from 1900 through roughly 1970 and includes a broad swath of composers and ideas. Christopher Theofanidis

MUS 653b, American Mavericks in Concert Music, 1970–present 4 credits. NP. Group A or B. This course looks at the arc of American experimentalism over the course of the twentieth and twenty-first centuries and is offered over two terms (though each of the two courses may be taken without the other as a prerequisite). John Cage wrote that “an experimental action is one the outcome of which is not foreseen.” The musicologist David Nicholls distinguishes experimentalism from the avant-garde thus: “…very generally, avant-garde music can be viewed as occupying an extreme position within the tradition, while experimental music lies outside it.” A vibrant strain of experimental American thought, often free of the sense of a directional “lineage” found in European modernism, is full of iconoclastic and passionate thinking, and worthy of study. This second term of the course focuses on music from the early 1970s to the present. Christopher Theofanidis

MUS 658b, Music History through Yale’s Collections and Spaces 4 credits. NP. Group B. Yale’s museums, galleries, and libraries hold many fascinating objects that shed light on music history. This course provides an opportunity to encounter these objects through an in-person, often hands-on experience. Approximately half of the course’s meetings are held in locations outside of the YSM classrooms—the Morris Steinert Collection of Musical Instruments, the Beinecke Rare Book and Manuscript Library, Yale’s art galleries—where students study items such as historic instruments, rare manuscripts, music prints, archival materials from famous musicians and composers, and visual art related to music. There are also meetings in Yale’s performance spaces to discuss the history of music studies and performance at Yale. The remaining class meetings at YSM lay the groundwork for these visits, broaden the discussion to include objects in other collections around the world, and consider some wider intellectual contexts and conversations within which these collections can be placed. Lynette Bowring

MUS 662b, “Brother, Can You Spare a Dime?” Music in the Great Depression 4 credits. NP. Group B. The crash of the New York Stock Exchange in October 1929 ushered in the worst economic depression in history. For the next decade, much of the world’s population was unemployed. Yip Harburg summarized the plight of these people in his 1932 popular song “Brother, Can You Spare a Dime?” Despite the hardships of the depression, the popular music industry in fact expanded exponentially during the 1930s due to AM radio and affordable movies, the panacea of the poor. Big band, ragtime, jazz, the blues, country, gospel, folk songs, and a new type of folk protest music all came to enjoy unprecedented popularity around the world. The depression era also saw the completion of important masterpieces of the twentieth-century canon—Berg’s Lulu, Stravinsky’s Symphony of Psalms, and Gershwin’s Porgy and Bess, for example. Composers of western “art” music reacted to the popular styles in different ways. Some like Kurt Weill absorbed and worked with them; others such as Henry Cowell pursued a more modernist agenda. Composers on both sides of the coin often had specific political or social agendas. This class examines the impact of the Great Depression on a spectrum of composers and performers from Russia, Europe, and North and South America. In addition to those already mentioned, Louis Armstrong, Béla Bartók, Marc Blitzstein, Benjamin Britten, Ruth Crawford Seeger, Benny Goodman, Woody Guthrie, Roy Harris, Lead Belly, Florence Price, Sergei Prokofiev, Bessie Smith, Erwin Stein, Heitor Villa-Lobos, and Anton Webern are among those whom we discuss. There are reading and listening assignments for each class and a midterm examination. An oral presentation and final paper are also required. Paul Hawkshaw

MUS 669a, The Literary Voice of Langston Hughes in American Music 4 credits. NP. Group B or C. This course is designed to help each student contextualize the lineage, life, and legacy of Langston Hughes within the broader understanding of American history and American musical culture from the Civil War to present; identify the variety of social, cultural, racial, ethnic, gendered, and migratory contexts that inform our collective musical identity and our individual artistic aesthetics; identify the broad swath of composers inspired by Hughes’s writing and/or connected to Hughes directly and evaluate representative compositions for how Hughes’s literary style takes on musical form; communicate in both written and verbal form their unique perspective on the music, composers, and topics discussed; and integrate their knowledge/understanding/perspective on the music inspired by Hughes’s literary contributions to create concert programming reflective of humanity’s inherent diversity. Students complete weekly readings, viewings, and/or listening on Hughes’s life in preparation for class discussion, and research major events in American history (e.g., the Civil War, Reconstruction, WWI, the Great Migration, etc.) to situate class discussions in their historical context. Assignments include five two-page responses to reflection questions based on the composers, compositions, and historical events discussed in class; a ten-page research paper on a topic inspired by the course content in consultation with the instructor (topics that connect the course material to a student’s individual performance, composition, or research interests are encouraged); and a group presentation in the form of a Concert Proposal. The proposal will include the proposed program (including at least one composition using Hughes’s words or inspired by Hughes’s writing), publicity materials, personnel, venue, budget/funding, and a sample performance of a work from the program. Albert Lee

MUS 674a, Analysis of Western Music (1199–1939) from the Composer’s Perspective 4 credits. NP. Group A or 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 675a, Sacred to Socially Committed: A Survey of the Mass 4 credits. NP. Group B. As a musical fountain of devotion and worship, the mass has been an abiding source of inspiration for composers over many centuries. The innumerable settings within the Western Christian world attest to rich and varied practices, while offering glimpses into the composer and the context in which sung masses were created. The course surveys the mass from the sixteenth through the twentieth century, as set in Europe, the United States, and Latin America. Canonical works are explored in addition to those from theatrical, folkloric, and jazz traditions. Both Latin and vernacular masses allow us to examine musical style, genre, composers, liturgical texts, historical and cultural contexts, and performance practices. Bernard Gordillo

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 identify a thesis topic and begin writing. 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. These 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

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 exhibit a basic or intermediate level of English. Studies includes the refinement of skills such as writing (sentences/paragraphs/essays), speaking, reading, and grammar, as well as the expansion and appropriate use of informal, academic, and professional vocabulary. 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. Workshops provide an opportunity for students to meet in small groups and gain firsthand experience. Preference given to second-year students. Jack Vees

MUS 553b, The Twenty-First-Century Recital 2 credits. NP. Group C. 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 Center for Collaborative Arts and Media (CCAM) is a valuable partner in this process, with relevant workshops offered there in coordination with its director. The course is considered successfully completed with the realization of the proposed project. Jack Vees

MUS 559a, Jazz Improvisation I 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 transcription and analysis. 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 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; additionally, a basic understanding of jazz nomenclature and some experience improvising are advised. Grades are based on completion of two to three solo transcription assignments (with one being committed to memory), two melody composition assignments, several small projects and assignments, one to two quizzes, class attendance, and each student’s personal development. Wayne Escoffery

MUS 578b, Music, Service, and Society 4 credits. NP. Group C. What are the impacts of music on the conditions of a society? How have music and musicians been present and catalytic to important historical moments? How can we think about reinvigorating the participation of musicians in the public sphere, the public square? How do we think about the roles and activities of musicians in today’s world? What are the potentials for artists and arts practices to positively influence the direction of our society? What are the mechanisms for artistic voices to play a role in activating conversation and transforming experience? How can we think about invigorating the participation of musicians in the public sphere? Through texts and discussion, we reconceive the roles artists can play in the communities in which they work. We explore the concept of the social imagination—the ability to imagine different scenarios, different futures for people in the world, and in our communities. Sebastian Ruth

MUS 621a, Designing Creative and Innovative Solutions for Advancing Diversity, Equity, and Inclusion in Classical Music 2 credits. NP. Group C. This class teaches students how to innovate and lead change in the arts. Students design innovative collaborative projects to advance diversity, equity, and inclusion in the music field. They learn two frameworks for innovation: design thinking and creativity problem-solving to design, pitch, develop, and implement innovative projects in an environment that encourages risk-taking and experiential learning. Students also learn the collaborative skills of communication, conflict management, persuasion, and presentation. They conduct audience research and integrate that data into projects. The term culminates with group project presentations. Astrid Baumgardner

MUS 659b, Jazz Improvisation II 2 credits. NP. Group C. This class is not for beginners; it is for the intermediate and advanced player with some experience improvising. The goal is to build on each student’s existing improvisational abilities, and the course work is somewhat tailored to the needs of the students enrolled. Students study intermediate and advanced concepts for improvisation and learn the essentials of the jazz language through solo transcription and analysis. There is ample time spent learning important jazz compositions and a focus on using improvisational devices and techniques learned in class on these compositions. Much of class time is spent playing through exercises and patterns, playing ideas in twelve keys, and implementing the learned class material into solos over standard jazz compositions. Open to all students. Enrollment is limited to twenty and is by assessment during the first class. Wayne Escoffery

MUS 673b, Leadership Strategies for Music Presenters 4 credits. NP. Group C. The course explores the conceptual, managerial, financial, and entrepreneurial elements of presenting classical and popular music. Guest lecturers include artists, educators, and executives from the domestic and international professional arts and business communities. Class sessions are supplemented with case studies, and each student prepares a comprehensive proposal for a major venture. Enrollment is limited to ten students (five each from YSM and SOM). Interested students should submit a current CV to Fallon Colavolpe, assistant to the dean, by November 15, 2021. The class roster will be posted on or before December 13, 2021. This cross-listed course is a School of Music course and follows the YSM academic calendar. 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 submitted in the term prior to the term in which the project will take place, i.e., projects proposed for fall term are to be submitted in April and spring-term proposals are due in December. Forms are available in the office of the registrar. Limit one per term. Faculty

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

Performance

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. Learning the basic beat patterns through to mixed meter in repertoire ranging from the Baroque to post-Classical. Developing expressive baton technique and aural and listening skills. Assignments include preparation of scores, weekly practice in conducting exercises, and score-reading skills. A playing ensemble is made up of participants in the class. Final examination in score reading, analysis, and conducting. Permission of the instructor required; enrollment limited. William Boughton

MUS 530b, Intermediate Conducting 4 credits. Development of techniques covered in MUS 529 through the Romantic and modern periods. Developing score reading at the keyboard. Building memory of scores. Developing knowledge of orchestral instruments. A playing ensemble is made up of participants in the class. Prerequisite: MUS 529. Permission of the instructor required; enrollment limited to ten, determined by audition. William Boughton

MUS 531a–b, 631a–b, 731a–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. Jeffrey Douma

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.

MUS 533a–b, 633a–b, 733a–b, Seminar in Piano Literature and Interpretation 4 credits per term. Required of all piano majors. This course focuses on the performance of, and research topics relevant to, keyboard repertory. On a rotational basis, students perform chosen repertoire determined by the department; additionally, students make short oral presentations based on assigned topics that are closely linked to the repertoire. Organized outlines and bibliographies are required components of the presentations. Weekly attendance is required. 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, 735a–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. Jeffrey Douma

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. Ole Akahoshi

MUS 540a,b, 640a,b, 740a,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 541b, 641b, 741b, 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. Any other students who wish to take secondary lessons in any other instruments must petition the director of secondary lessons, Kyung Yu, by email (kyung.yu@yale.edu) no later than Aug. 30, 2021, for the fall term and Jan. 14, 2022, for the spring term. 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 565 for secondary instruction in choral conducting, and both MUS 529 and MUS 530 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 emailed to the director, Kyung Yu (kyung.yu@yale.edu).

MUS 542a–b, 642a–b, 742a–b, The Yale Philharmonia 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 Yale 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 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. André J. Thomas

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. 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 677 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. Prerequisite: MUS 615. Jeffrey Brillhart

Voice and Opera

MUS 504a, 604a, 704a, Acting and Movement for Singers 2 credits per term. Acting and stage movement tailored specifically for singers. Studies include techniques in character analysis and role preparation. Emphasis is placed on stage presence and movement problems as applied to specific roles, and on transferring the class experience to the stage. Required. Adriana Zabala

MUS 506a–b, 606a–b, 706a–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, 707a–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. J.J. Penna

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. Gerald Martin Moore, 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 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, 695a–b, Performance Practice for Singers 2 credits per term. A four-term course cycle exploring the major issues and repertoire of Western European historically informed performance, including issues of notation, the use of modern and manuscript editions, and national performance styles. Includes a survey of solo and chamber vocal repertoire (song, madrigal, cantata, opera, oratorio, motet) from the seventeenth and eighteenth centuries, with a focus on ornamentation, practical performance issues, and recital planning. The sequence is designed to provide the foundation to a practical career in historical performance. Open to conductors and instrumentalists with permission of the instructor. Jeffrey Grossman

MUS 622a–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. Ethan Heard

MUS 623a,b, Early Music Coaching for Singers 1 credit. Individual private coaching in early repertoire, focusing on historically informed performance practice, in preparation for required recitals and concerts. Students are coached on such elements of musical style as ornamentation, phrasing, rubato, articulation, and rhetoric, and in English, French, Italian, German, Latin, and Spanish diction. Students are expected to bring recital and concert repertoire to coaching sessions as performance times approach. Jeffrey Grossman

Yale Institute of Sacred Music

MUS 519a–b, 619a–b, 719a–b, ISM 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

Department of Music

YSM students are encouraged to explore appropriate intermediate and advanced undergraduate courses and graduate courses offered by the Department of Music. Permission of the instructor may be required for enrollment.