| |
View 2008-09
View 2009-10
View 2010-11 |
|
Music Courses 2011-12
(as of July 11, 2011)
See the bulletins of the School of Music and the Divinity School for full course listings and degree requirements. Courses listed here may be cross-listed in other schools or departments.
Courses fulfilling the distribution requirements for Institute students pursuing the M.Div. are indicated with a letter indicating the relevant subject area: W (Worship), M (Music), and/or A (Religion and the Arts – visual arts or literature).
The letter “a” following the course number denotes the fall term; the letter “b” denotes the spring term.
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. Ted Taylor
MUS 510b, Music before 1700 4 credits. Markus Rathey
MUS 515a,b, 615a,b, 715a,b, 815a,b, Improvisation at the Organ 2 credits. Development of improvisatory skills at the keyboard. Jeffrey Brillhart
MUS 519a–b, 619a–b, 719a–b, 819a–b, Colloquium 1 credit per term. Participation in seminars led by faculty and guest lecturers on topics concerning theology, music, worship, and related arts. Required of all Institute of Sacred Music students. Martin D. Jean
MUS 520b/ REL 677b, Credo: Faith Prayed and Sung 4 credits, The classical expression of the Christian faith is summed up in the historic creeds of the Church, which are regarded as important foundation documents in ecumenical dialogue. But where did they originate? What do they teach? And how is this belief expressed in worship, in text and music? The course considers the origin of the creeds and the development of the Niceno-Constantinopolitan Creed of 381. It considers some of the key doctrines and beliefs expressed in the Creed. It also examines how these beliefs have been, and are, expressed in the public worship of the Churches, ancient and contemporary. It looks at the musical settings of the Credo and how they and other musical settings give expression to the creedal beliefs. (W, M) Markus Rathey, Bryan D. Spinks
MUS 531a–b, 631a–b, 731a–b, Repertory Chorus 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. Marguerite L. Brooks
MUS 532a–b, 632a–b, 732a–b, Conducting Repertory Chorus 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. Marguerite L. Brooks
MUS 535a–b, 635a–b, 735a–b, Recital Chorus 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. Marguerite L. Brooks
MUS 536a–b, 636a–b, 736a–b, Conducting Recital Chorus 2 credits per term. Second- and third-year students in the graduate choral conducting program work with the Recital Chorus, preparing and conducting their degree recitals. Open to choral conducting majors only. Marguerite L. Brooks
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 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 544a–b, 644a–b, 744a–b, Seminar in the Departmental 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. 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. Marguerite L. Brooks
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 100 years). Enrollment limited to, and required of, voice majors in the early music, song, and chamber ensemble program. Masaaki Suzuki
MUS 586a, Oratorio in the 17th and 18th Centuries 4 credits. Markus Rathey
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, Performance Practice for Singers: Music from before 1800 1 credit per term. Fall term: Introduction (required of all first-year students in the early music, oratorio, and chamber ensemble program). An exploration of the major issues of historically informed performance, such as the search for “authenticity” and the roles of the editor and the performer. Specific topics include performance context, application of sources, original notation and modern editions, national styles, aesthetics, and ornamentation. Students examine historical sources and read selections from seventeenth- and eighteenth-century treatises. Open to conductors and instrumentalists with permission of the instructor. Judith Malafronte
MUS 617a/REL 643a, Music and Theology in the 16th Century 4 credits. The Protestant Reformation in the sixteenth century was a “media event.” The invention of letterpress printing, the partisanship of famous artists like Dürer and Cranach, and not least the support by many musicians and composers were responsible for the spreading of the thoughts of Reformation. But while Luther gave an important place to music, Zwingli and Calvin were much more skeptical. Music, especially sacred music, constituted a problem, because it was tightly connected with Catholic liturgical and aesthetic traditions. Reformation had to think about the place music could have in worship and about the function of music in secular life. (M) Markus Rathey
MUS 656a, Liturgical Keyboard Skills I 2 credits. In this course, students gain a deeper understanding and appreciation for musical genres, both those familiar to them and 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. 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. 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
|
|
