* MUSI 0035b / CPSC 0350b, Twenty-First Century Electronic and Computer Music Techniques  Scott Petersen

Exploration of twenty-first century electronic and computer music through the diverse subjects and issues at the intersection of technology and new music. How computers have changed and challenged the analysis, composition, production, and appreciation of music over the last fifty years. Knowledge of basic music theory and the ability to read Western musical notation is assumed. Enrollment limited to first-year students.   QR
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* MUSI 0050a, Transformations in 20th and 21st Century Music  Trevor Baca

Introduction to outstanding pieces of 20th- and 21st-century instrumental music. Students examine details of the music and the social/historical context of each piece, in chronological order: one piece for each of the twelve decades from 1900 to the present. Composers include Mahler, Stravinsky, Ravel, Varèse, Copland, Cage, Reich,Xenakis, Eastman, Takemitsu, Czernowin, and Monk. Enrollment limited to first-year students. 
TTh 2:35pm-3:50pm

* MUSI 0081a / ER&M 0581a / SOCY 0074a, Race and Place in British New Wave, K-Pop, and Beyond  Grace Kao

This seminar introduces you to several popular musical genres and explores how they are tied to racial, regional, and national identities. We examine how music is exported via migrants, return migrants, industry professionals, and the nation-state (in the case of Korean Popular Music, or K-Pop). Readings and discussions focus primarily on the British New Wave (from about 1979 to 1985) and K-Pop (1992-present), but we also discuss first-wave reggae, ska, rocksteady from the 1960s-70s, British and American punk rock music (1970s-1980s), the precursors of modern K-Pop, and have a brief discussion of Japanese City Pop. The class focuses mainly on the British New Wave and K-Pop because these two genres of popular music have strong ties to particular geographic areas, but they became or have become extremely popular in other parts of the world. We also investigate the importance of music videos in the development of these genres. Enrollment limited to first year students.   SO
MW 4pm-5:15pm

* MUSI 1006a, Musical Genius  Lindsay Wright

Is there such a thing as “musical genius”? What exactly are the qualifications, and who gets to decide? In this course, we explore how the answers to these questions have shifted in the past three centuries, investigating when and where—and especially how and why—the notion of musical genius became so pervasive and powerful. To this end, the course draws upon a range of materials: we listen to music; parse primary historical sources; analyze news coverage and podcast episodes; and read from a range of academic subfields, including music history, ethnomusicology, sociology, psychology, philosophy, disability studies, critical race studies, gender and sexuality studies, and music education. We compare and critically analyze discourse about a range of figures dubbed musical geniuses, from L. v. Beethoven and W. A. Mozart to Thomas “Blind Tom” Wiggins, Aretha Franklin, and Vijay Iyer. Building upon this historical context, we also interrogate the significance of musical genius in today’s world, considering the proliferation of genius-themed self-help literature, the politics and procedures of the Macarthur Genius Grant, invocations of genius and talent on social media, and additional issues of interest to students. Beyond gaining a robust understanding of the history of ideas like genius and talent, we contemplate the benefits and challenges of conceptual history as a scholarly enterprise more broadly.  HU
TTh 1:05pm-2:20pm

MUSI 1111a, Elements of Musical Pitch and Time  Staff

The fundamentals of musical language (notation, rhythm, scales, keys, melodies, and chords), including writing, analysis, singing, and dictation. Intended for students who have no music reading ability.  0 Course cr
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* MUSI 1137a / HUMS 1390a, Western Philosophy in Four Operas 1600-1900  Gary Tomlinson

This course intensively study\ies four operas central to the western repertory, spanning the years from the early 17th to the late 19th century: Monteverdi's Orfeo, Mozart's Don Giovanni, Wagner's Die Walküre (from The Ring of the Nibelungs), and Verdi's Simon Boccanegra. The course explores the expression in these works of philosophical stances of their times on the human subject and human society, bringing to bear writings contemporary to them as well as from more recent times. Readings include works of Ficino, Descartes, Rousseau, Wollstonecraft, Schopenhauer, Kierkegaard, Douglass, Marx, Nietzsche, Freud, and Adorno. We discover that the expression of changing philosophical stances can be found not only in dramatic themes and the words sung, but in the changing natures of the musical styles deployed.  HU
MW 2:35pm-3:50pm

MUSI 1175a, Listening to Music  Brian Kane

Development of aural skills that lead to an understanding of Western music. The musical novice is introduced to the ways in which music is put together and is taught how to listen to a wide variety of musical styles, from Bach and Mozart, to Gregorian chant, to the blues.  HU  0 Course cr
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* MUSI 1185a / TDPS 2502a, American Musical Theater History  Dan Egan

Critical examination of relevance and context in the history of the American musical theater. Historical survey, including nonmusical trends, combined with text and musical analysis.  Limited enrollment. Interested students should contact dan.egan@yale.edu for application requirements.  WR, HU
W 1:30pm-3:25pm

* MUSI 1190a, Yale Wind Ensemble  Thomas Duffy

The Yale Concert Band, a group of 45-60 wind, brass, and percussion players, embraces the aesthetics of the traditional wind band and the contemporary experimental ensemble. Our repertoire consists of a panoply of wind band classics; premieres by and commissions of Yale students, faculty and established world-class composers; and the newest wind band literature that incorporates electro-acoustic sounds, folk/rock/hip hop music, soloists, and theatrical trappings. The Yale Concert Band regularly presents concerts to benefit causes and organizations, ranging from benefit concerts to support the work of New Haven’s IRIS (Integrated Refugee and Immigrant Services (2017, 2018, 2019); to provide aid to the relief efforts after Hurricane Katrina (2005), floods in Myanmar (2007), tornadoes in the American midwest (2007), the earthquake in Haiti (2010), the tsunami in Japan (2011), and West African Ebola recovery efforts (2016).  In 1959, the Yale Concert Band became the first university band to produce an international concert tour, and, since then, has appeared in concerts in Japan, South Africa, Swaziland, Mexico, Brazil, Bermuda, Russia, Finland, the Czech Republic, Austria, Ireland, England, France, Italy, Denmark, Germany, Holland, Belgium, Lithuania, Latvia, Estonia, Ghana, Haiti, Greece, Australia, and Spain. This course cannot be applied toward the 36-course-credit requirement for the Yale bachelor's degree. By audition at the beginning of the academic year or by permission of instructor.  0 Course cr
TTh 4pm-6:15pm

* MUSI 1191a, Yale Glee Club  Jeffrey Douma

The Yale Glee Club is the University’s principal undergraduate SATB choir and oldest musical organization. Led by a School of Music faculty conductor, the 85-voice ensemble is comprised of students from many backgrounds with diverse musical and academic interests and is committed to the collaborative pursuit of musical excellence as a formative component of a liberal arts education. The Glee Club’s repertoire spans eras, styles, and cultures, while acknowledging the tradition of concert music. The group promotes new contributions to the field of choral music through initiatives that highlight historically excluded voices, expanding the boundaries of collegiate choral singing and embracing change and the reflective conversations that come with it. The Glee Club aims to make a positive impact in our local community and beyond through musical collaborations and arts-related service work. The group strives to cultivate a welcoming and inclusive community, foster friendships and camaraderie, and prepare members with the skills and context needed for a lifelong appreciation of music-making. This course cannot be applied toward the 36-course-credit requirement for the Yale bachelor's degree. By audition at the beginning of the academic year.  0 Course cr
MW 7pm-9pm

* MUSI 1192a, Yale Symphony Orchestra  Elizabeth Askren

The YSO’s programming policy is a combination of - the Western Canon (Bach – Mahler), American Heritage (Beach  to Carter) and American Contemporary Music with invitations to living composers to visit the Campus and work with the Orchestra. The YSO has a proud history of presenting many premieres and commissioning new music. This course cannot be applied toward the 36-course-credit requirement for the Yale bachelor's degree. By audition at the beginning of the academic year.  0 Course cr
MW 4pm-6:30pm

* MUSI 1193a, Yale Jazz Ensembles  Wayne Escoffery

The Yale Jazz Ensembles combine the combo and “big band” styles of jazz and present a variety of music from all styles of the genre: from classic pieces from the golden age of the big band to standards — including those from Yale’s Benny Goodman archive — to the newest, most progressive jazz compositions. The YJE has performed in the United States and internationally at such noted venues as New York’s Village Vanguard, Iridium Jazz Club, and Dizzy’s Club; Boston’s Scullers Club, and London’s Ronnie Scott’s. The YJE has played with or opened for the Mingus Big Band, the Mel Lewis Jazz Orchestra, the Toshiko Akiyoshi/Lew Tabackin Big Band, the World Saxophone Quartet, Jane Ira Bloom, Jimmy Owens, and Branford Marsalis, Randy Brecker, George Coleman, and Wayne Escoffery. This course cannot be applied toward the 36-course-credit requirement for the Yale bachelor's degree. By audition at the beginning of the academic year.  0 Course cr
W 7pm-9:30pm

* MUSI 2100a, Score Reading and Analysis  Elizabeth Askren

This beginner's class in Score Reading and Analysis builds the basic skills in the following - the ability to read a score both at the keyboard and through silent reading comprehending – clefs, transposition, orchestration, form, the instruments of the period, and discussing playing style of the period in question. During the semester the class builds a greater understanding of the characters (orchestral instruments) in the score, the historical context, formal analysis (sonata form, rondo, etc) and the keyboard skills to realize, understand, comprehend, and appreciate the works being studied and being able to play a minimum of 3 lines from the score. Some Keyboard skills. Ability to read the Treble and Bass clefs and, preferably, a skill on at least one orchestral instrument. 
T 9:25am-11:20am

* MUSI 2107a, Commercial and Popular Music Theory  Staff

An introduction to music-theory analysis of commercial and popular song (with a focus on American and British music of the past 50 years, across multiple genres). Coursework involves study of harmony, voice leading and text setting, rhythm and meter, and form, with assigned reading, listening, musical transcription and arranging, and written/oral presentation of analysis. Prerequisite: Completion of a 100- or 200-level music theory course or the corresponding placement exam, and/or permission of instructor.  HU  RP  0 Course cr
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* MUSI 2122a, Vocal Counterpoint and Arranging  Nathaniel Adam

This course approaches the study of counterpoint with a focus on arranging for voices (and singing arrangements in class). Exercises are modified from classical-music education, but adapted for contemporary popular song, to benefit Yale's "a cappella" performers as well as any other students interested in music theory and composition. Prerequisite: MUSI 218 and/or the following: ability to match pitch and sightsing tonal melodies; willingness to sing in class every day; fluency in treble/bass clefs and standard classical-music notation; knowledge of Roman-numeral analysis and triad inversions.
TTh 1:30pm-2:20pm

* MUSI 2220a, The Performance of Chamber Music  Wendy Sharp

Coached chamber music emphasizing the development of ensemble skills, familiarization with the repertory, and musical analysis through performance. Admission by audition only. May be repeated for credit. For audition information e-mail wendy.sharp@yale.edu. Credit for MUSI 220 only on completion of MUSI 221.  ½ Course cr
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* MUSI 2223a, Near Eastern and Balkan Ensemble  Ian MacMillen

An introduction to the ensemble musics of West Asia/Southeast Europe and their theoretical, cultural, and aesthetic traditions. Students learn repertoire and approaches to ornamentation, improvisation, and meter (including additive aksak meters like 7/8 and 11/8) on their own instruments and voice parts. Instruction on traditional regional instruments is also offered. The course culminates in a public ensemble performance. This course may be repeated for credit. Some previous musical experience is required.  RP
T 9:25am-11:20am

* MUSI 2228a / TDPS 2500a, Musical Theater Performance I  Dan Egan and Andrea Burns

The structure, meaning, and performance of traditional and contemporary musical theater repertoire. Focus on ways to "read" a work, decipher compositional cues for character and action, facilitate internalization of material, and elicit lucid interpretations. This semester’s course also embraces the online format to address performing and recording virtually as a vital tool in the current field of musical theater. The course combines weekly synchronous learning and private coaching sessions. For singers, music directors, and directors. Admission by audition and application only. For registration requirements and audition information contact dan.egan@yale.edu. May be repeated for credit.  HU  RP
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* MUSI 2230a, Composing for Musical Theater  Joshua Rosenblum

This course is open to all students (including graduate programs) and from any major, although priority is given to music majors. Knowledge of the basics of music theory and music notation is required, and some familiarity with the musical theater idiom is expected. Some prior composing experience is recommended. Piano skills are very helpful, but not required. Normally the class size is limited, so that all assignments can be performed and fully considered during the class meeting time.  Prerequisite: Enrollment limited to 12.  Please contact joshua.rosenblum@yale.edu with any questions about eligibility.  HU  RP
F 1:30pm-3:25pm

* MUSI 2232a, Central Javanese Gamelan Ensemble  Phil Acimovic

An introduction to performing the orchestral music of central Java and to the theoretical and aesthetic discourses of the gamelan tradition. Students form the nucleus of a gamelan ensemble that consists primarily of tuned gongs and metallophones; interested students may arrange for additional private instruction on more challenging instruments. The course culminates in a public performance by the ensemble. This course may be repeated for credit. No previous musical experience required.  RP
T 1:30pm-3:25pm

* MUSI 2240a, The Performance of Early Music  Grant Herreid

A study of musical styles of the twelfth through early eighteenth centuries, including examination of manuscripts, musicological research, transcription, score preparation, and performance. Students in this class form the nucleus of the Yale Collegium Musicum and participate in a concert series at the Beinecke Library. Admission by audition only. May be repeated for credit. For audition information e-mail grant.herreid@yale.edu.  HU  RP
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* MUSI 3220a, Composition I: Genre, Style and Techniques  Kathryn Alexander

Intermediate creative projects in music composition, instrumentation, and scoring for visual media. Study of compositional techniques throughout genres and styles.  Students may compose songs in any genre, write in jazz idioms, compose a classical string quartet, produce an EDM tune, score to animation or video; or other projects individually designed.  Group critique as an in-class activity and collaborative workshops with performers in Music 2238.  Questions? Contact the instructor at kathryn.alexander@yale.edu. Prerequisite: 200-level music theory course or equivalent experience.   HU  RP
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* MUSI 3228a, Introduction to Conducting  Elizabeth Askren

An introduction to conducting through a detailed study of the problems of baton technique. Skills applied to selected excerpts from the standard literature, including concertos, recitatives, and contemporary music.
M 9:25am-11:20am

* MUSI 3245a, Lessons  Kyung Yu

Individual instruction in the study and interpretation of musical literature. No more than four credits of lessons can be applied towards the 36-credit degree requirement. Auditions for assignment to instructors (for both credit and noncredit lessons) are required for first year and some returning students, and are held only at the beginning of the fall term. For details, see the Music department's program description in the YCPS.
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* MUSI 3350a, History of Western Music: Middle Ages and Renaissance  AZ (A. Zayaruznaya)

A detailed investigation of the history of musical style from A.D. 900 to 1600. Preference to Music majors according to class.  HU
TTh 9am-10:15am

* MUSI 3481a / AFAM 2753 / BLST 2753a, Jazz in Transition, 1960–2000  Michael Veal

A survey of musicians, stylistic currents, and critical issues relevant to the evolution of jazz between 1960 and 2000. Topics include Third Stream, free jazz, jazz-rock fusion, the influence of world music, neo-classicism, jazz and hip-hop, and others.  HU
TTh 11:35am-12:50pm

* MUSI 4220a, Composition Seminar III  Konrad Kaczmarek

Advanced analytic and creative projects in music composition and instrumentation, with a focus on writing for chamber ensembles. Ongoing study of evolving contemporary procedures and compositional techniques. Group and individual lessons to supplement in-class lectures. Admission by audition only. May be repeated for credit. Enrollment limited to 10.  To audition, students should upload two PDF scores and MP3 recordings in a single zip file by 4 p.m. on the second Wednesday of the semester, to the designated Music 4220 audition assignment page at the Canvas site. Students with questions should contact the instructor at konrad.kaczmarek@yale.edu.  Prerequisites: Both MUSI 3220 and 3221.  RP
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MUSI 4222a / ART 3671a, Sound Art  Martin Kersels and Brian Kane

This cross-disciplinary course, a collaboration between the Department of Music and the School of Art, is aimed at students interested in both the theoretical underpinnings and practical production of sound art. Participants are asked to read texts, discuss issues in and around the subject of sound art, understand the basic history of sound art in relation to the history of music and art, create experimental sound works, and participate in critiques of sound work created during the course. Weekly readings and discussion as well as additional projects are required.  HU
M 1:30pm-5:30pm

* MUSI 4225a, Electronic Instrument Design  Konrad Kaczmarek

Live audio and video processing using the visual programming environment Max/MSP/Jitter. Topics include human computer interaction (HCI), instrument design, alternative controllers, data mapping, algorithmic composition, real-time digital signal processing, communication over the network, and programming for mobile devices.  HU  RP
T 1:30pm-3:25pm

MUSI 4228a / CPSC 4310a, Computer Music: Algorithmic and Heuristic Composition  Scott Petersen

Study of the theoretical and practical fundamentals of computer-generated music, with a focus on high-level representations of music, algorithmic and heuristic composition, and programming languages for computer music generation. Theoretical concepts are supplemented with pragmatic issues expressed in a high-level programming language. Ability to read music is assumed. After CPSC 202 and 223.  QR
MW 11:35am-12:50pm

* MUSI 4231a / TDPS 4028a, The Spirit of the Original: Adaptation Lab  Jeanine Tesori

An advanced course in adaptation from multiple genres.  Exploration of source material and collaborative strategies. When relevant, scores by Jeanine Tesori and others will be mined for inherent structure, nuance, utility, and applicability for emerging writers.  Non-musical adaptation will also be explored (dependent on enrolled student expertise) involving film, dance, painting, and cross-practice work. Importance of honoring the original source even when the adaptation goes far afield.  Study examples will be chosen from adaptations of short stories, plays, musicals, films, Shakespeare, dance, and art.  What is salient in process and execution?  Possible guest artists include all Tesori collaborators.  Final project will be a presentation of a work in progress, pitched at midterm.    Some prior experience with creating in response to a primary source will be beneficial, but is not absolutely necessary for enrollment.  Goal is to examine adaptation as specifically applied to students' practice. Applicants should submit a one-page statement outlining readiness for the course, experience, and goals for enrollment.  HU
M 11am-1:20pm

* MUSI 4245a, Advanced Lessons  Kyung Yu

Individual instruction for advanced performers in the study and interpretation of musical literature. No more than four credits of lessons can be applied towards the 36-credit degree requirement. Auditions for assignment to instructors (for both credit and noncredit lessons) are required for first year and some returning students, and are held only at the beginning of the fall term. For details, see the Music department's program description in the YCPS.
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* MUSI 4249a, Jazz Improvisation  Wayne Escoffery

In this course students study basic, intermediate, and advanced concepts of improvisation and learn the essentials for 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. This course is designed primarily for players of pitched instruments, as opposed to percussionists or vocalists, who may be admitted in rare circumstances on an individual basis. Students are required to bring their instruments to class; additionally, a basic understanding of jazz nomenclature and some experience improvising are advised. Students do not need the instructor's permission to add the course to their schedule. All interested students should attend the first class, during which the instructor will conduct an in-class evaluation to determine the final class list. 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. Prerequisite: Basic understanding of Jazz nomenclature and some experience improvising is advised. Admission by audition only.  Permission of the instructor is required.  ½ Course cr
T 9:25am-11:20am

* MUSI 4995a, Individual Study  Nathaniel Adam

Original essay in ethnomusicology, music history, music theory, or music technology and/or multimedia art under the direction of a faculty adviser. Admission to the course upon submission to the department of the essay proposal by the registration deadline, and approval of the director of undergraduate studies.
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* MUSI 4996a, The Senior Recital  Nathaniel Adam

Preparation and performance of a senior recital and accompanying essay under faculty supervision. Admission by permission of the director of undergraduate studies. Prerequisite: MUSI 461.
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* MUSI 4997a, The Senior Project in Composition  Nathaniel Adam

Preparation of a senior composition project under faculty supervision. Admission by permission of the composition faculty of the Department of Music. Prerequisites: MUSI 320, 321, 420, and 421.
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* MUSI 4998a, The Senior Project in Musical Theater Composition  Nathaniel Adam

Preparation of a senior composition project in the field of musical theater under faculty supervision. Admission by permission of the coordinator of the Shen Curriculum. Two terms of MUSI 314 or equivalent.
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* MUSI 4999a, The Senior Essay  Nathaniel Adam

Preparation of a senior essay under faculty supervision. Admission by permission of the director of undergraduate studies. 
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