MUSIC-GA 1319
Mondays 6:10pm to 8:40pm
Instructor: Mick Moloney
Course Description: This course surveys the musical culture of Irish emigrants to North America from 1750 to the present. It seeks to set musical styles in Ireland and America in an informed historical dialogue, thereby opening up explanatory paradigms for Irish diasporic experience and for the role of Irish musics in North American social, cultural, and political life. Students will gain a detailed groundwork for subsequent historical research in folk and popular culture. The course will also be of use to students of comparative music history, the history and theory of popular culture, and the study of memory and folklore.
MUSIC-GA 2162, Section 001
Tuesdays 10:30am to 12:30pm
Instructor: Jaime Oliver
Course Description: Examination of techniques of music composition as they are applied to the creation of musical works. Compositional practice is studied and evaluated both from the standpoint of craft and aesthetics. Students create compositions, and works are performed in public concerts.
MUSIC-GA 2162, Section 002
Tuesdays 10:30am to 12:30pm
Instructor: Jaime Oliver
Course Description: Examination of techniques of music composition as they are applied to the creation of musical works. Compositional practice is studied and evaluated both from the standpoint of craft and aesthetics. Students create compositions, and works are performed in public concerts.
Special Studies: Music, Power, Mobility, Worldhood
MUSIC-GA 2198, Section 001
Thursdays 10:30am to 12:30pm
Instructor: Brigid Cohen
Course Description: It is a truism that music travels, just as sound has the potential to permeate all manner of boundaries. Such crossings call out for modes of knowledge production contrary to what has often defined North American music studies: its organization and segregation along lines defined by national, regional, and Orientalist divisions of the world. These traditional disciplinary patterns work in the service of power by obscuring processes of migration, capitalist-fueled imperialism, market control, and planetary resource depletion. In recent decades, a range of critical movements have developed alternative concepts and methods in redress for this problem. Among others, they include comparative empire studies, world history, Afropessimism, migration and diaspora studies, globalization studies, ideas of the black Atlantic, postcolonialism, and decolonization movements. This seminar seeks to "translate" between ideas and vocabularies across these critical literatures concerned with questions of power, mobility, and worldhood. We will train our focus on historiographies of music and sound with attention to these critical literatures, seeking never to lose touch with the qualities of flux that characterize the sounding media of our study.
Special Studies: James Tenney: Music as Heard
MUSIC-GA 2199, Section 001
Wednesdays 4:30pm to 6:30pm
Instructor: Elizabeth Hoffman
Course Description: Tenney (1934 – 2006) practiced music as a performer, theorist, and composer, interested in various media and alternative tuning systems. His not very widely known writings on acoustics, form, cognition, and perception are significant contributions to the conversations about the role of these elements in 20th-21st-century experimental and popular musics.
Special Studies: Genre and Popular Music: Aesthetics, Economics, Identities
MUSIC-GA 2199, Section 002
Mondays 2pm to 4pm
Instructor: Maureen Mahon
Course Description: Genre, a way of categorizing a creative work, plays a significant role in the ways popular music is produced, promoted, circulated, and consumed. In this course, we will discuss popular music genres, primarily in the 20th & 21st century United States, and consider the following questions: How have music scholars historicized, analyzed, and critiqued the formation of music genres? How do aesthetic considerations, economic interests, and social forces shape the ways musicians, audiences, and music industry professionals define and assign musical sounds and practices to genres? What is the impact of these categories on music making, music marketing, and identity construction? How do musical and “extra-musical” factors such as the race, gender, ethnicity, and class identities of participants contribute to the definition of genre? How and why do music genres change? How and why do music genres matter?
MUSIC-GA 3119
Independent study with a faculty supervisor. Must have the approval of the director of graduate studies and the proposed supervisor.
Dissertation Proposal Advising
MUSIC-GA 3120
Wednesdays 2pm to 4pm
Instructor: Martin Daughtry
Advising Course for Dissertation Proposal preparation.