Graduate Courses of General Interest


Autumn 2022

Visit BuckeyeLink for the most up-to-date course information in Class Search (SIS).

Music Education

7760 Basic Concepts in Music Education
3 credits — Daryl Kinney (in person)
The principles of music education and of the educational and cultural objectives derived from related disciplines which give direction and purpose to the music education program. Topics include philosophy of music education; advocacy; historical foundations of public-school music teaching; issues of diversity, equity, access and inclusion in music education; culturally responsive pedagogy; and issues of social justice and democracy in music education.

8895 Practices, Pedagogies and Philosophies of Teaching
2 credits — David Hedgecoth (in person)
In this course, we will explore the fundamental elements of effecting teaching: philosophical positioning, pedagogical values, and delivery of instruction. We will also engage in field observations, course planning activities, and professional development modules that will serve students throughout their time on campus and beyond.

Music Theory

5620 Theory and Analysis: From Wagner to Hindemith
2 credits — David Clampitt (in person)
Theory of extended tonality, analysis of tonally dissolute music of the late nineteenth and early twentieth century, and aspects of popular and other centric music to the present day. Parts of two books by Daniel Harrison will be the texts.

7829.05 Topics in Music Theory: History of Theory/Scale Theory
3 credits — David Clampitt (in person)
Selected readings in the history of theory in relation to scale theory and aspects of mathematical music theory. Plato's Timaeus, Boethius, the Enchiriadis treatises, Guido's Micrologus, the Dodecachordon of Glarean, selections from Rameau, will be among the texts.


4500.02 Review of Music History
2 credits — Austin McCabe Juhnke (online course)

5649 Western Art Music II, 1870 to now
2 credits — Arved Ashby (in person)
Survey of repertory and related historical issues, with principal emphasis on instrumental genres (including chamber works, orchestral pieces, concertos, movie scores, and ballets). — A chronological survey, focusing on instrumental repertory and genres, and attendant issues. MM students are particularly encouraged to enroll. Repertory will be tailored to the needs of enrolled students. Examples of pieces discussed — Brahms: Symphony No.1; Tchaikovsky: Swan Lake; Strauss: Also sprach Zarathustra; Schoenberg: Verklärte Nacht; Mahler: Symphony No.5; Debussy: La Mer; Stravinsky: Petrushka; Janacek: Mladi; Berg: Violin Concerto; Barber: First Essay for Orchestra; Tippett: Concerto for Double String Orchestra; Copland: Billy the Kid; Ellington: Black, Brown, and Beige; Piazzolla: Milonga, Muerte, y Resurrección del Angel; Bartók: String Quartet No.6; Price: Violin Concerto No.2; Messiaen: Oiseaux Exotiques; Stockhausen: Gruppen; Shostakovich: String Quartet No.7; Part: Tabula Rasa; Feldman: Why Patterns?; Andriessen: Disco; Gubaidulina: Rejoice!; Ligeti: Piano Concerto; Schnittke: Symphony No. 7; Uri Caine: Urlicht/Primal Light

6673 Introduction to Musicology
2 credits — Danielle Fosler-Lussier (in person) (7-week course, term 1; offered in conjunction with 8886)
An introduction to the discipline of Musicology: its history, its preoccupations and its methods. Beginning with origins that elevated European “classical” music in Europe and the United States, the course moves through successive periods of disciplinary methods and cross-disciplinary affiliations. We trace how the study of music became a distinct discipline; how it came to be supported by a variety of academic institutions and scholarly societies; and how the discipline was divided into branches (historical musicology, ethnomusicology, music theory).

7789 African Music – Ideas, Forms and Trajectories
3 credits — Ryan Skinner (in person)
Study of a range of arguments about African music and identity, in combination with surveying the continent’s diverse musical practices and interrogating the idea of an “African music” more generally.

8850 History of Performance Practice
3 credits — Graeme Boone (in person)
An examination of contemporary attitudes, issues and practices in music performance from the Middle Ages to the present, based in part on readings of primary sources.

8886 Theories and Methods
2 credits — Danielle Fosler-Lussier (in person) (7-week course, term 2; offered in conjunction with 6673)
Explorations of a range of theoretical, conceptual and analytic tools advanced in current musicological scholarship.

8950 Musicology Seminar: Music and the Politics of Inclusion
3 credits — Austin McCabe Juhnke (in person)
Studying the problems and possibilities that music presents as a form of institutional anti-racism and anti-sexism. In particular, we’ll think about music as both a form of representation and an embodied practice. Among the readings will be Sarah Ahmed’s On Being Included, and Dylan Robinson’s Hungry Listening, as well as some more introductory texts on music and representation, and case studies of the concert spiritual, gamelan, and/or other institutionalized “diversity” genres.


2208.22 Andean Music Ensemble
0.5-1 credit — Michelle Wibbelsman (in person)


Spring 2022