139. Introduction to Music. Limited to students enrolled in the School of Music unless admission is granted by the concentration advisor. (2). (HU).
A survey of musical concepts and repertories of the Western and non-Western world.

140. History of Western Art Music: Music of the U.S. and Euro-American Music Since World War I. Limited to students enrolled in the School of Music unless admission is granted by the concentration advisor. (2). (HU).
Music of the U.S. and American and European music since WWI. Includes both vernacular and art-music traditions.

239. History of Western Art Music: Middle Ages through the Baroque. Limited to students enrolled in the School of Music unless admission is granted by the concentration advisor. (2). (HU).
History of music from the Middle Ages through the Baroque.

240. History of Western Art Music: Classic Era Through World War I. Limited to students enrolled in the School of Music unless admission is granted by the concentration advisor. (2). (HU).
History of music from the end of the Baroque era to WWI.

305. Special Course. Non-music only. (3). (Excl).
Selected topics in Music. Specific focus is determined by instructor and indicated in current Time Schedule.

306. Special Course. Non-music only. (3). (Excl).
Selected topics in Music. Specific focus is determined by instructor and indicated in current Time Schedule.

341. Introduction to the Art of Music. For non-School of Music students only. (3). (HU).
For students who wish to develop the practical skill of listening to western art music and to become familiar with the significant forms and styles of composition.

342. Introduction to World Music. For non-School of Music students only. (3). (HU).
For students who wish an introduction to musical cultures of a few, select musical areas of the world (such as the Caribbean, West Africa, India, China, and Japan).

343. Music in History. For non-School of Music students only. (3). (Excl).
The history of music from the Middle Ages to the present through a study of representative styles as a reflection of the cultural background and of the composers' attitudes toward their art.

345. The History of Music. For non-School of Music students only. (3). (HU).
A chronological survey of music history from Gregorian chant through the late-Baroque works of Handel and J. S. Bach.

346. The History of Music. For non-School of Music students only. (3). (HU).
A chronological survey of music history from the period of Haydn and Mozart to the present.

347. Opera of the Past and Present. For non-School of Music students only. (3). (HU).
This is a lecture survey dealing with selected operas from 1600 to the present. The case studies discussed are representative of works frequently performed today.

351. History of Jazz. (3). (Excl).
An exploration of the development of the jazz tradition from its African and African-American origins to contemporary developments.

405. Special Course. (1-3). (Excl). May be repeated for credit.
Selected topics in Music. Specific focus is determined by instructor and indicated in current Time Schedule.

406. Special Course. (2-4). (Excl). May be repeated for credit.
Selected topics in Music. Specific focus is determined by instructor and indicated in current Time Schedule.

407. Special Course. (1-3). (Excl). May be repeated for credit.
Selected topics in Music. Specific focus is determined by instructor and indicated in current Time Schedule.

408. Special Course. (1-3). (Excl). May be repeated for credit.
Selected topics in Music. Specific focus is determined by instructor and indicated in current Time Schedule.

411. History of the Symphony. (3). (Excl).
A survey of the symphony from its earliest inception through the 20th Century.

413. History of Opera. (3). (HU).
Aesthetic principles of opera as an art form and their application in works from the seventeenth century to the present.

414. Nineteenth and Twentieth Century Opera. (3). (Excl).
An historical survey of opera (as music, as theatre, and as cultural expression) from the 19th century to the present.

416. History of Musical Instruments. (3). (HU).
The historical development of musical instruments, emphasizing those of the western world.

420. Music of the Baroque. (3). (HU).
This course is designed as an overview of selected topics in music of the seventeenth and early eighteenth centuries (roughly 1570-1750), but it is not designed as a strict survey of Baroque music. Particular emphasis is given to the invention and definition of musical genres, the relationship of music to text, and the place and function of music (secular and sacred, vocal and instrumental, for court, chamber, church, and theater) in early modern society.

421. Music of the Classic Period. (3). (Excl).
Background of the literature, general history, and the fine arts of the Classic school of composers in whom the music literature of this century culminates.

422. Music of the Nineteenth Century. (3). (Excl).
Background, forces, and objectives of the nineteenth century and their effects on music and the other arts.

423. Music of the Twentieth Century. MHM 240. (3). (Excl).
A survey course covering the period from Debussy and Mahler to the present day. The most important stylistic trends and aesthetic issues are defined and a context sought in relation to the other arts and social/political trends. A heavy emphasis is placed upon building the student's repertoire of 20th-century masterworks in the hope that the capacity for independent confrontation of other compositions is facilitated.

424. Art Song. (3). (HU).
A survey of the art song literature of Europe and the United States during the nineteenth and twentieth centuries.

436. Women and Music: Exploring Issues of Gender, Ideology, and Characterization. (3). (Excl).
An exploration of issues surrounding women as composers, performers, and subjects (how they are portrayed musically).

437/Phil. 437. Philosophy of Music. An introductory course in philosophy; or previous course work in music. (3). (Excl).
A philosophical investigation of the nature and significance of music. What is music and how is it important? Does music have "meaning"? What is musical expressiveness? Does music portray or represent emotions? What kinds of feelings does it evoke? What makes a musical performance not merely "correct" but good?

450. Music in the United States. (3). (HU).
The history of music in America from Colonial times to the present.

456. Music of Asian Americans. (3). (Excl).
Examines the various musics of Asian Americans to discuss issues and processes of musical, personal, and ethnic identities in multicultural and multiracial America.

457/CAAS 400. The Musics of African Americans. Non-music concentrators must have permission of instructor. Musical background preferred. Undergraduates only. (3). (HU).
An explication of the development of the Afro-American musical traditions from African and Afro-American folk origins to Black American music in the twentieth century. Topics include blues, jazz, contemporary popular music, and art music.

458. Music and Culture. (3). (HU).
An examination of the role of music in selected rituals of western and non-western cultures.

459. Music Cultures of Africa and South America. (3). (HU).
A survey of the forms and functions of music in Australia, Oceania, South and Central America, the Caribbean, and Africa considered in the context of the discipline of ethnomusicology.

460. Euro-American Folk and Popular Music. (3). (HU).
A survey of the forms and functions of national musics in Europe including Russia and of North America including Indians and ethnic groups in the United States and considered in the context of the discipline of ethnomusicology.

466(461). The Music of Asia 1. (3). (HU).
The aim is to develop a musical and intellectual understanding of East Asia. Sections on China, Korea, and Japan are structured according to historical and ritual music, fold and popular songs, instrumental music, theatre, and avant-garde music.

467(461). The Music of Asia 2. (3). (Excl).
Examines some of the better known musical traditions from West Asia, South Asia, and Southeast Asia. Musical examples are studied in relation to their cultural environments, their history, prevailing religious philosophies and contemporary significance.

463/Asian Studies 463. Music of Southeast Asia. Undergraduates only. (2). (HU).
Survey of the musical cultures of the Indonesian archipelago including Java, Bali, and Sumatra.

464/CAAS 464. Music of the Caribbean. (3). (HU).
This course introduces the Caribbean as an area comprising many distinct cultures. The major body of the course proceeds by areas zoned musically for our purposes, and by musical type. We search for social, legislative, and economic factors that operate in favor of musical appropriation and against the continuity of individual traditional styles. Reggae, calypso, soca, pan, ritual, and European music are analyzed through their political and social implications. Theories on the aesthetics of Black music, formulated by Roger Abrahams, Henry Louis Gates and Paule Marshall form the core of the analyses.

465. Music of Africa. (3). (Excl).
An introduction to African musical traditions through an investigation of the sound materials, creative processes, and social contexts of music making.

477. Medieval Music. (3). (Excl).
Following a lecture-based survey of the early development of Western music, the second half of this course examines questions through analyses of music, rituals, and texts (in translation) and by examining the development of the text/music relationship over the period 800-1450. Course work involves listening and reading assignments, including musical scores, music theoretical literature, and medieval cultural studies. The ability to read musical notation is assumed.

478. Renaissance Music. (3). (Excl).
This course combines a survey of 15th and 16th century music with in-depth study of selected topics from the period. Students should have some background in Music Theory and Western Music History.