College of LS&A

Winter Academic Term 2004 Graduate Course Guide

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Courses in Music History and Musicology


This page was created at 6:24 PM on Wed, Jan 21, 2004.

Winter Academic Term 2004 (January 6 - April 30)


MUSICOL 502. Practical Bibliographical and Research Techniques.

Section 001 — Musicological Research Techniques and Writing.

Instructor(s): Louise K Stein (crawfish@umich.edu)

Prerequisites: MUSICOL 503. Graduate standing. (3). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

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MUSICOL 505. Special Course.

Section 001 — Race & Identity in Western Art Music. [3 credits]. Meets with MUSICOL 405.001, WOMENSTD 483.004, WOMENSTD 698.001, and HONORS 493.006.

Instructor(s): Naomi A André (nandre@umich.edu)

Prerequisites: (1-3). May be repeated for credit.

Credits: (1-3; 1-2 in the half-term).

Course Homepage: No homepage submitted.

See WOMENSTD 698.001.

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MUSICOL 506. Special Course.

Section 001 — Music of the Philippines. [3 credits]. Meets with Asian 492.003 and MUSICOL 506.

Instructor(s): Felicidad Afable Prudente

Prerequisites: Graduate standing. (1-4). May be repeated for credit.

Credits: (1-4; 1-2 in the half-term).

Course Homepage: https://coursetools.ummu.umich.edu/2004/winter/musicol/406/001.nsf

See ASIAN 492.003.

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MUSICOL 508. Special Course.

Section 001 — Music of the American Avant-Garde: Cage, Partch, Cowell, Nancarrow. [credits?] Meets with MUSICOL 408.001.

Instructor(s): James E Wierzbicki

Prerequisites: Graduate standing. (1-3). May be repeated for credit.

Credits: (1-3; 1-2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: Permission of Instructor

MUSICOL 514. History of Opera, 19th-20th Centuries.

Section 001 — Meets with MUSICOL 414.001.

Instructor(s): Roland J Wiley (rjwiley@umich.edu)

Prerequisites: Graduate standing. (3). May not be repeated for credit.

Credits: (3).

Course Homepage: http://coursetools.ummu.umich.edu/2004/winter/musicol/414/001.nsf

A review of important repertoires and particular works in western European opera, moving forward from the year 1800

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MUSICOL 517. History of Jazz.

Section 001.

Instructor(s): Charles Hiroshi Garrett

Prerequisites: Graduate standing. (3). May not be repeated for credit.

Credits: (3).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

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MUSICOL 521. Music of the Classic Era.

Section 001 — Meets with MUSICOL 421.001.

Instructor(s): Steven Moore Whiting

Prerequisites: Graduate standing. (3). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2004/winter/musicol/421/001.nsf

No Description Provided. Contact the Department.

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MUSICOL 523. Music of the Twentieth Century.

Section 001.

Instructor(s): Albin J Zak

Prerequisites: Graduate standing. (3). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2004/winter/musicol/423/001.nsf

For composers of concert music in the twentieth century, the burden of history was unprecedented. By the dawn of the century a selective, idiosyncratic historical awareness had become a fundamental of musical composition. In both their music and their rhetoric, composers displayed a marked self-consciousness in the face of a grand musical legacy, which influenced their conception of the compositional project and many of the creative choices they made. There is a basic tension inherent in the work of such "progressive" composers as Schoenberg, Stravinsky, Ives, and Bartók: their work is based on nineteenth-century ideological beliefs, aesthetic attitudes, and compositional techniques, yet the conventional underpinnings that anchor even the most advanced nineteenth-century music no longer pertain. Indeed, the norms of common practice musical language were abandoned precisely in response to the imperatives of the Romantic belief in individual vision.

In this course, we will explore — through their music and their prose — the aesthetic worlds of some of the most influential composers of the first half of the twentieth century. As we do so, a prevailing theme will be the nature of the composers' relationship with the concert music tradition they inherited; the sources of evidence for this relationship will be largely the composers' own words and works.

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MUSICOL 558. Music in Culture.

Section 001.

Instructor(s): Judith O Becker

Prerequisites: Graduate standing. (3). May not be repeated for credit.

Credits: (3).

Course Homepage: http://coursetools.ummu.umich.edu/2004/winter/musicol/458/001.nsf

No Description Provided. Contact the Department.

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MUSICOL 577. Medieval Music.

Section 001.

Instructor(s):

Prerequisites: Graduate standing. (3). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

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MUSICOL 581. Special Projects.

Instructor(s):

Prerequisites: Graduate standing. Permission of instructor required. (1-4). (INDEPENDENT). May be elected more than once for credit.

Credits: (1-4; 1-3 in the half-term).

Course Homepage: No homepage submitted.

Independent study.

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MUSICOL 591. Musicology Thesis.

Instructor(s):

Prerequisites: Master's students only. Graduate standing. Permission of instructor required. (2-6). (INDEPENDENT). May be repeated for credit.

Credits: (2-6).

Course Homepage: No homepage submitted.

THIRD-TERM REVIEW: RESEARCH PAPER. Beginning in the second term and extending into the third term, a student will develop the topic for his or her third-term paper. In consultation with members of the faculty, the student will chose a research topic that will be original in material or in approach, and will demonstrate the student's ability to pursue a rigorous program of research and writing reflecting contemporary scholarly paradigms. The recommended length for this paper is 35-40 pages of prose, in addition to the bibliography, with appendices, musical examples or transcriptions as needed. Three copies of the paper are to be submitted to the departmental Director of Graduate Studies by September 15 (or the first business day thereafter) of the second year of study. After faculty critique, a revised version will be submitted six weeks thereafter.

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MUSICOL 605. Special Course.

Section 001 — Music in the City. Credits?

Instructor(s): Mark Allan Clague

Prerequisites: Graduate standing and permission of instructor. (1-4). May be repeated for credit.

Credits: (1-4).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of instructor

MUSICOL 606. Special Course.

Section 001 — Historiography of Musical Sound Recrdings. Credits?

Instructor(s): Amy K Stillman (akstill@umich.edu)

Prerequisites: Graduate standing. (1-4). May be repeated for credit.

Credits: (1-4).

Course Homepage: http://coursetools.ummu.umich.edu/2004/winter/musicol/606/001.nsf

Sound recordings offer a potent source of information on musical practice and cultural history. Despite the archives of a century’s worth of sound recordings, a sharp increase in the reissue of material recorded decades prior, a surge in discographic compilation, and unprecedented accessibility online to sound files as well as information, musicologists have generally been reluctant to consider sound documentation as primary sources for either historical or analytic study of musical practice. And despite the publication of several histories of the recording industry, the materiality of sound recordings remains undertheorized.

The goal of this seminar is to explore the nature of information on musical sound recordings from a variety of perspectives. We will consider the development of recording technology; marketing, packaging, and circulation of sound recordings; and how these factors impact musical content. We will engage in group reading and critique of recent published scholarship on sound reproduction, such as Jonathan Sterne, The Audible Past (2003), Michael Chanan, Repeated Takes (1995), David Morton, Off the Record (2000), Andre Millard, America on Record (1995), and articles TBA. In addition to class discussion of readings participants will conduct an original research project, give an oral presentation on work in progress, and submit a completed research paper at the end of the term.

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MUSICOL 643. Studies in Music of the Baroque.

Section 001 — Patrons, Operas, Singers, and Music of Handel and A. Scarlatti.

Instructor(s): Louise K Stein

Prerequisites: Graduate standing and permission of instructor. (3). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of instructor

MUSICOL 760. Colloquium in Ethnomusicology.

Section 001.

Instructor(s): Judith O Becker

Prerequisites: Graduate standing. (1). May not be repeated for credit.

Credits: (1).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

MUSICOL 881. Special Readings.

Instructor(s):

Prerequisites: For Ph.D. students only. Graduate standing. Permission of instructor required. (2-6). (INDEPENDENT). May be elected more than once for credit.

Credits: (2-6).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of instructor

MUSICOL 900. Preliminary Examinations.

Instructor(s):

Prerequisites: Graduate standing. For use by students not otherwise enrolled. Permission of instructor required. (1). (INDEPENDENT). May be elected more than once for credit.

Credits: (1).

Course Homepage: No homepage submitted.

This examination normally includes a listening exam and two essays, the general sense and limits of which have been discussed in advance with the prospective dissertation advisor. One essay will cover the entire period of research. The second will be more closely focused on the proposed dissertation topic.

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MUSICOL 990. Dissertation/Precandidate.

Instructor(s):

Prerequisites: Election for dissertation work by doctoral student not yet admitted as a Candidate. Graduate standing. (1-8). (INDEPENDENT). May be repeated for credit. This course has a grading basis of "S" or "U."

Credits: (1-8; 1-4 in the half-term).

Course Homepage: No homepage submitted.

Election for dissertation work by doctoral student not yet admitted as a Candidate. The dissertation proposal will consist of a carefully researched and written description of the proposed topic (approximately 20-25 pages) that will argue for its relevance, feasibility, and originality as a scholarly contribution to the field of musicology. The proposal should also describe the plan of research and indicate as precisely as possible the objectives of the project, the sources to be consulted, the current state of research, and the cultural, musical, methodological, historical, aesthetic, anthropological, critical, analytical and social issues relevant to the topic. If the project involves fieldwork, the proposal should indicate how it will be carried out and what criteria will be applied in the evaluation of data.

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MUSICOL 995. Dissertation/Candidate.

Instructor(s):

Prerequisites: Graduate School authorization for admission as a doctoral Candidate (Prerequisites enforced at registration). (8). (INDEPENDENT). May be repeated for credit. This course has a grading basis of "S" or "U."

Credits: (8; 4 in the half-term).

Course Homepage: No homepage submitted.

Graduate School authorization for admission as a doctoral Candidate. N.B. The defense of the dissertation (the final oral examination) must be held under a full term Candidacy enrollment period.

While researching and writing the dissertation, each Ph.D. candidate will present a lecture in a public forum before an audience of students and departmental faculty. This dissertation oral presentation will describe the topic, methodology, and results of his or her dissertation research to date. This lecture will customarily be presented at a point when the candidate can benefit most from the exchange: after enough research has taken place to define the chief issues of the topic but before a large portion has been written.

The dissertation in historical musicology must make a significant and original contribution to the field, and otherwise conform to the standards of the Horace H. Rackham School of Graduate Studies.

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Undergraduate Course Listings for MUSICOL.


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