Peabody Institute

All students who are interested in minor lessons must fill out the online request form each semester they wish to take lessons. Students are not permitted to self-register on SIS.https://peabody.jhu.edu/academics/peabody-at-homewood/minor-lessons-at-Peabody/

All students who are interested in minor lessons must fill out the online request form each semester they wish to take lessons. Students are not permitted to self-register on SIS.https://peabody.jhu.edu/academics/peabody-at-homewood/minor-lessons-at-Peabody/

All students who are interested in minor lessons must fill out the online request form each semester they wish to take lessons. Students are not permitted to self-register on SIS.https://peabody.jhu.edu/academics/peabody-at-homewood/minor-lessons-at-Peabody/

All students who are interested in minor lessons must fill out the online request form each semester they wish to take lessons. Students are not permitted to self-register on SIS.https://peabody.jhu.edu/academics/peabody-at-homewood/minor-lessons-at-Peabody/

Course section descriptions are available in the Student Information System (SIS). https://courses.jhu.edu/

Exploring Arts Careers, the first course in the Breakthrough Curriculum sequence, is a required one-credit course for all second-year undergraduate students. Students examine various career paths, discovering and connecting personal strengths, interests, and goals to relevant skills and experiences. Mentorship and networking teach the value of communication and community in shaping academic and professional trajectories. The course incorporates audio and video editing to help students to express personal and artistic voices through multimedia. Students gain a broadened view of artistic careers and resources to advance their creative interests and discover future opportunities.

Building a Brand and Portfolio is a required two-credit course for all third-year undergraduate and first-year master's students. This course equips students with career development skills essential for sustaining a dynamic artistic practice. This course guides students in developing a professional digital portfolio, including a website, supporting media, an artist bio, and a resume. Through hands-on projects and industry-aligned resources, students refine their professional materials and explore strategies for positioning their work within today’s evolving creative landscape.

Prerequisite(s): PY.123.101[C] OR PY.123.111[C]

Pitching Your Creative Idea, the final course in the Breakthrough Curriculum sequence is a required two-credit course for all third-year undergraduate and first-year master's students. In this project-based course, students develop and practice essential skills for the 21st century performing artist. Through determining and designing an artistic project for a setting external to Peabody, they learn skills in audience research, programming, collaboration, and professionalism, while also building experience advocating publicly for their artistry both verbally and in writing. As the capstone for this class, students create a written grant application and juried proposal, with the option to enter a juried competition for project funding.

Prerequisite(s): Completion of Building a Brand and Portfolio needed, PY.123.311[C].

How does a creative artist make a living — and a life? In this foundational survey course, students will study aspects of law that shape a career in and beyond the arts. Topics include how to get or grant permission to use copyrighted works, how to read a contract, and how to start or join a business. Advanced topics may include negotiation, the analysis of popular music in copyright infringement cases, and current developments in intellectual property law. By learning how copyright law can protect creative works, how contracts can generate income, and how business structures can influence the impact of the artist in society, students will empower themselves to create their future.

Distribution Area: P, Y

Learn through discussion, case studies and hands on practice key aspects of leading and managing an arts organization today including strategic planning, programming, marketing, public relations, fundraising, staffing, budgeting, and community engagement.

Prerequisite(s): Students must have completed Core I and Core II

Distribution Area: P, Y

How does a creative artist make a living — and a life? In this foundational survey course, students will study aspects of law that shape a career in and beyond the arts. Topics include how to get or grant permission to use copyrighted works, how to read a contract, and how to start or join a business. Advanced topics may include negotiation, the analysis of popular music in copyright infringement cases, and current developments in intellectual property law. By learning how copyright law can protect creative works, how contracts can generate income, and how business structures can influence the impact of the artist in society, students will empower themselves to create their future.

There are stories that only performing artists can tell—stories that offer deep insights into the craft and reveal the skills it takes to build a career onstage. In this course, we will focus on storytelling, exploring topics that illuminate how we as performers relate to our repertoire, solve technical problems, find meaning in practice, learn through dialogue with mentors and collaborators, and engage with the creative scenes around us. Our discoveries will take shape through written journal entries, edited interviews, critical responses, feature stories, and think pieces. A central goal of the course will be learning how to adapt our writing for platforms such as e-newsletters and social media, using them as strategic tools for audience engagement.

Required for students minoring in the Business of Music.

This course will introduce students to Baltimore's rich and varied artistic landscape, with an emphasis on artists across disciplines who are committed to serving, uplifting, and celebrating our city. The class will guide students as they conceive and embark on their own endeavors as community-focused artists in Baltimore and beyond.

This course explores the connections between listening in day-to-day life and listening as a musician, with an emphasis on the ways in which listening to the people and sounds of Baltimore can make us more engaged and responsive as composers and performers. This class is supported in part by the JHU Center for Social Concern’s Engaged Scholar Faculty and Community Partner Fellows Program, and will be co-taught by Dr. Judah Adashi and Erricka Bridgeford, Executive Director of the Baltimore Community Mediation Center and Co-Organizer of the Baltimore Peace Movement.

Distribution Area: P, Y

Building a Brand and Portfolio is a two-credit course which focuses on career development training. Students will develop a digital portfolio, and conduct and produce an interview with a potential mentor. Digital portfolio will include website, supporting media, artist bio, and resume. Course also covers key professional skills including networking, negotiating, applying for jobs, and financial management.

Pitching Your Creative Idea, the final course in the Breakthrough Curriculum sequence is a required two-credit course for all third-year undergraduate and first-year master's students. In this project-based course, students develop and practice essential skills for the 21st century performing artist. Through determining and designing an artistic project for a setting external to Peabody, they learn skills in audience research, programming, collaboration, and professionalism, while also building experience advocating publicly for their artistry both verbally and in writing. As the capstone for this class, students create a written grant application and juried proposal, with the option to enter a juried competition for project funding.

Prerequisite(s): Completion of Building a Brand and Portfolio needed, PY.123.611[C].

This course provides the theories, principles, and trends of audience development and marketing for the arts as well as practical application of those principals for performing artists. Case studies help you review strategies and practices currently used in the cultural sector. Guest professionals from the field add real world perspectives. Students develop their own marketing plans for an arts organization.

What is classical music’s position in the world today? Its audience has grown older and smaller, and its relevance to current culture has faded. Why did this happen? And — when, for most people, other music provides both art and entertainment — what could be done to bring classical music back?

How can we describe music, so that other people — our musician colleagues, our families and friends, and our audience — know what we’re hearing? We’ll read some good music critics, to see how this can be done, and in class we’ll listen to music, and practice describing it. We’ll practice giving presentations to our audience, and practice writing program notes, along with other writing useful in our careers, like our artist bios.

This class will ask each student to look deeply into themselves to answer important personal questions:?Why did I decide to become a musician?? What does music mean to me?? What is the purpose of music in my life and in the world? Crucially, the answers to these questions will lead to more questions:?How do my feelings about music affect how I play??How do they affect how I practice, rehearse and perform??How do they impact stage fright? ? Students in this class will be asked to think, write and speak about their relationship to music.? Each student will be asked to play for the others in the class.? Classes will include listening to, playing and talking about music and the processes of music-making.

Prerequisite(s): For Senior and Graduate Pianists and String Players

Distribution Area: P, Y

This hybrid seminar equips doctoral students for higher-education teaching careers through a structured blend of academic-career orientation, pedagogical practice, and professional preparation. Students analyze institutional contexts and hiring expectations, learn from guest faculty speakers on key topics, and apply structured feedback to develop a tailored application package and a teaching portfolio with recorded evidence. The course culminates in mock interviews and an interview-readiness plan. 2.0 credits.

PY.186.100 consists of weekly half hour-long lessons, designed to develop skills for performing and teaching the art of singing: including repertoire choices, musicianship, language, diction and study methods (background study, wordsmithing, observation, dissection, practicing and organizing), as well as preparation for a jury, hearing, or recital.

Prerequisite(s): Open to Voice majors only

This intensive integrated one-year course for Academic Purposes aims to develop the English language skills of listening, speaking, reading, and writing necessary for success in Peabody classes. Placement is determined through an entrance exam and a personal interview. Students placed in this class must complete the course with a grade of S in order to proceed with their degree requirements. Attendance is mandatory.

This intensive course for international graduate students develops English skills for academic success. The first semester emphasizes oral communication, including listening and note taking, class discussion, and conversation; academic vocabulary, reading and writing; and cultural differences in and out of the classroom. The second semester concentrates on expository writing, especially resource-based writing, self-evaluation, and editing; critical reading; and informal and formal presentations. Placement is determined through an entrance exam and a personal interview. Students placed in this class must complete the course with a grade of B or better in order to proceed with their degree requirements. Attendance is mandatory.

This intensive course for international graduate students develops English skills for academic success. The first semester emphasizes oral communication, including listening, note taking, class discussion, presentations, academic vocabulary, and cultural differences in and out of the classroom. The second semester concentrates on expository writing, editing, and critical reading. Placement is determined through an entrance exam and a personal interview. Students placed in this class must complete the course with a grade of B or better in order to proceed with their degree requirements. Attendance is mandatory.

Prerequisite(s): PY.250.007[C]

A thorough study of the fundamentals of the four language skills: comprehension, speaking, reading, and writing. Concentrating on practical everyday situations, the course aims to provide students with the vocabulary, expressions, and grammatical structures needed to achieve a functional use of Italian. Open to undergraduates only.

Distribution Area: P, Y

A thorough study of the fundamentals of comprehension, speaking, reading, and writing, this course aims to provide students with the vocabulary, expressions, and grammatical structures needed to achieve a functional use of Italian. Portions of the course are conducted online. Open to undergraduates only. Non-voice majors may take this course for elective credit after completing the full Humanities Core Curriculum.

Prerequisite(s): PY.250.111[C]

Distribution Area: P, Y

A thorough study of the fundamentals of the four language skills: comprehension, speaking, reading, and writing. Concentrating on practical everyday situations, the course aims to provide students with the vocabulary, expressions, and grammatical structures needed to achieve a functional use of German. Open to undergraduates only.

Distribution Area: P, Y

A thorough study of the fundamentals of the four language skills: comprehension, speaking, reading, and writing. Concentrating on practical everyday situations, the course aims to provide students with the vocabulary, expressions, and grammatical structures needed to achieve a functional use of German. Open to undergraduates only.

Prerequisite(s): PY.250.121[C]

Distribution Area: P, Y

A thorough study of the fundamentals of the four language skills: comprehension, speaking, reading, and writing. Concentrating on practical everyday situations, the course aims to provide students with the vocabulary, expressions, and grammatical structures needed to achieve a functional use of French. Open to undergraduates only.

Distribution Area: P, Y

This course focuses on developing the four core language skills—reading, writing, speaking, and listening—through practical, everyday communication. Students engage with authentic materials such as texts about cultural events in Germany, German song lyrics, and short videos. Writing practice includes emails, short texts, and creative tasks such as poems. Speaking and listening skills are strengthened through pair and group work, discussions, and video-based activities. The language of instruction is primarily German, providing an immersive learning environment that supports active participation and real-life language use.

Prerequisite(s): German 1a or at least one year of German lessons (upon request)

Distribution Area: P, Y

A year-long course to prepare students for college-level writing. This course introduces students to foundational academic writing skills in summary, citation, use of evidence, analysis, and argument. Assignments focus on sentence- and paragraph-level coherence, while reinforcing the conventions of standard American English in academic settings.

A year-long course to prepare students for college-level writing. This course introduces stu-dents to foundational academic writing skills in summary, citation, use of evidence, anal-ysis, and argument. Assignments focus on sentence- and paragraph-level coherence, while reinforcing the conventions of standard American English in academic settings.

Prerequisite(s): PY.260.023[C]

Introduction to the practice of analytical thinking and writing in the context of reading foundational historical, philosophical, and/or literary texts. Course objectives: ensuring competence in writing and critical analysis. Students will write four analytical papers (3-4 pages each).

Distribution Area: P, Y

Introduction to the basics of writing a research paper. Course objectives: ensuring competence in academic research and writing. Students will select a research topic, find source materials, and complete a formal academic research paper (10-15 pages), with appropriate references properly documented. Prerequisite: Core 1 or approved placement.

Prerequisite(s): PY.260.115[C]

Distribution Area: P, Y

An introduction to the history of art. Open to undergraduates only. Art History 1 surveys European art from the 14th through the mid-19th centuries. It surveys Renaissance painting, sculpture, and architecture in Italy and Northern Europe, its origins in Medieval art, and examines shifts in artistic concepts and forms from the 16th through the mid-18th centuries that led to the emergence of Mannerist, Baroque, and Rococo art. The course concludes with an examination of Neoclassicism, Romanticism, and Realism up through the mid-19th century. Artistic movements, styles and influences relevant to the development of western art will be covered, with the inclusion of some American art traditions as time permits. Additional commentary as it relates to music history will be interwoven.

Distribution Area: P, Y

An introduction to the history of art. Open to undergraduates only. This course offers a survey of avant-garde European and American art from the mid-19th century to the present. Some of the many artistic movements covered include Realism, Impressionism, Post-Impressionism, German Expressionism, Cubism, Dada, Surrealism, De Stijl, early American Modernism, Abstract Expressionism, Pop Art, Minimalism, Conceptual Art, and Postmodernism. Additional commentary as it relates to music history will be interwoven.

Distribution Area: P, Y

An introduction to the fields and research methods of contemporary psychology, including such topics as biological and social bases of behavior, human development, perception, memory, learning theory, intelligence, and abnormal behavior. Special emphasis will be placed on subjects of importance to music education. Open to undergraduates only.

Distribution Area: P, Y

This course has no specific content, no given topics. It doesn’t try to teach you about a particular subject, time period, or place. No. You the student provide the content. Your work is the focus of this class. Whether you are a dancer, an instrumentalist, a singer, a conductor, a composer, a new media artist, or a recording engineer you will provide the content. We will take what you are doing in your major and look at it from the perspective of the Liberal Arts. You will each have the chance to introduce to your classmates and to write about at least one thing you are interested in—like a particular piece, a technique, an artist, a concept, or a genre. And your classmates will listen to you, read about your interests, and discuss these things as they would a topic in any other Liberal Arts class. You will not only try to express yourselves about your work, but to understand others and their work. You will practice speaking as well as listening, writing as well as reading. And through this communication we will try to build community. For the Liberal Arts are not just a collection of subjects to be learned (and too often forgotten). They are aptitudes and attitudes, ways to build bridges between our islands of experience.

Distribution Area: P, Y

No doubt, things are grim. So, what can music and dance do to help us get through these and other dark times? How can such arts improve our lives? What can they teach us and where do they touch us? Do they have the power to heal our minds? Our bodies? Our hearts? This course is designed for students with all sorts of tastes, backgrounds, and interests in dance and music. Although the professor will lead discussions and provide some texts, yet, by learning how to find and research different sources, students will also explore the power of music and dance from whatever perspectives interest them. If you are a dancer, you might ask how music-inspired movement can strengthen social bonds or how dance can brighten a dementia-darkened mind, if only for a moment. Musical performers, composers, and engineers might investigate the ways that music education can regenerate a dying culture or revolutionize an oppressed people. From folk to popular, classical to jazz, ballet to modern, and any other soundwave or movement you can convince us to consider, our texts will be limited only by your tastes. The ultimate goal of this course and its diversity is not just to pursue our own individual interests in music and dance, but to hone our ability to communicate and collaborate with one another.

Distribution Area: P, Y

In this course we will explore what has become known as the Posthuman. Although the term originated in the writings of science fiction, it has come to mean much more than something merely imaginary or fantastic. The Posthuman or Anthropocene—both terms are very similar in meaning—may be what describes us, now. Behind these terms is the idea that humanity has entered into a new age or epoch, one where the advances of technology have created conditions for life on earth that are unprecedented. We are, it is said, no longer simply human, and whatever human beings had been defined as in the past, no longer describes us. The specific conditions are, to name the most important, biotechnology, artificial intelligence, and climate change. The impact of these developments on life and the arts has been immeasurable. Our course will explore each of these topics in order to offer students a chance to catch a glimpse of what is happening to us now and in the future.

Prerequisite(s): Core 2 is a required prereq

Distribution Area: P, Y

How does an artist endure? What makes one star last while another fizzles? Katharine Hepburn, 1907-2003, is ranked by the American Film Institute (AFI) as the “greatest female star in the history of American cinema.” She lived as originally as so many of the film heroines she portrayed. This humanities seminar examines the roles and movies that defined the pioneering Hepburn as an actress, a businesswoman, and progressive thinker in American history. Along the way, we will trace pivotal events and cinematic trends in the 20th century contributing to Hepburn’s legacy.

Distribution Area: P, Y

What is “evil”? How is it depicted in the arts? –In order to address these questions, our two main readings this semester will be Goethe’s drama Faust and Bulgakov’s novel The Master and Margarita. While Goethe’s work is a tragedy, Bulgakov’s novel is a satirical dark comedy. We will pair these readings with selected philosophical essays depicting, for example, Kant’s theory of “radical evil”, and movies, such as “Hannah Arendt”. The discussion topics in this class will be challenging for their intellectual depth, but at the same time incredible fun and entertaining.

Distribution Area: P, Y

Depictions of East Asian and Asian-American characters in film and television have evolved since the earliest days of Hollywood. Alongside world events and US immigration patterns, representation shifted and a host of stereotypes emerged. Consider the wise guru, the exotic girlfriend, and the martial arts sidekick among many portrayals. This liberal arts seminar offers historical context and critical tools for analyzing and discussing these representations while gaining acquaintance with a range of films and television series.

Distribution Area: P, Y

Philosophizing means to think and ask questions. In this class you will delve into captivating topics that will encourage you to ponder and exchange ideas with your fellow students, professor, and engaging guest speakers. Together, we will explore the fundamental questions surrounding the cosmos's ultimate reality, the notions of free will and consciousness, the intersections between science, the humanities, art, and cultural diversity, the debate between theism and atheism, and the nature of transcendent experiences. None of the readings in this class require any prior familiarity with philosophy. Our primary course materials include: (1) South Korean-born Byung-Chul Han’s 2019-The Disappearance of Rituals. A Topology of the Present; (2) Sean Carroll’s 2016-The Big Picture; (3) topics selected by students as part of an engaging group work assignment. Embark on this intellectual journey with us, where class discussions will revolve around your thoughts and questions, shaping the course's dynamic exploration.

Prerequisite(s): Core 2 is a required prereq

Distribution Area: P, Y

Through readings, discussions, and critical analysis, students will explore existentialist perspectives on freedom, choice, authenticity, and the search for meaning in life. The course will consider existentialist literature, art, and film to contextualize philosophical concepts within broader cultural and historical contexts. Existentialist authors that will be discussed include: Dostoevsky, Nietzsche, Heidegger, Buber, Musil, Sartre, Beauvoir, and Kundera. We will try to understand what the existentialist angle on life is, and whether it is applicable to the 21st Century.Unlike traditional approaches to philosophy, the thinkers discussed in this class do not attempt to provide final answers to a traditional set of questions, such as “What is human nature?” “What is the meaning of life?” “What is truth?” Rather, philosophical inquiry emerges within the context of specific practical concerns of human beings, who live in a finite world with no objective standards as guidance. There is a sense of predicament, alienation, estrangement, radical freedom, and responsibility common to these thinkers. What do these characteristics of human life imply for how we (should) relate to ourselves, others, and the world? What kind of society should we build? How can we find consolation and meaning in life? Despite significant differences, all authors discussed in this class do what all good philosophy does: they make you think and ask questions. Upon completion of this class, you will be able to:-Understand the historical development and key concepts of existentialist philosophy.-Analyze existentialist texts and critically engage with primary sources.-Explore existentialist themes such as freedom, choice, alienation, authenticity, and the absurd.-Examine existentialist perspectives on ethics, morality, and the nature of existence.-Apply existentialist insights to contemporary issues and personal experiences.The culmination of this class will be topics selected by students as part of an engaging group work assignment.

Distribution Area: P, Y

In this "Philosophy of Art" course, we’ll explore two biographies—"Johannes Brahms" by Jan Swafford and "Miles" by Miles Davis—alongside your own artistic projects. We’ll begin by discussing philosophical texts on how emotions are expressed in music, what philosophy of art is about, and how art can serve various purposes. Subsequently, we’ll examine parallels between Johannes Brahms and Miles Davis to reflect on the artist's role in the 21st century. Enjoy the journey!

Distribution Area: P, Y

This is a course that will engage you in several of the most interesting ethical issues and concerns of our time. “Practical Ethics” also goes by the name of “Applied Ethics.” Under “ethics” we consider the rational and critical bases of moral problems and issues. What sorts of things can we be morally responsible for? What is the good life? What makes an action moral or not? In applied ethics we apply these moral questions that arise from philosophical reflection to particular cases and situations of moral conflict. Thus, a course in applied ethics is case-oriented. The subjects studied in applied ethics are many, more than we can cover. Our main emphasis will be on and we can only cover a few of them including: human rights and problems of freedom and equality, poverty and economic justice, the ethics of the environment, and the right to life and death. Our course will proceed largely as a theme-based course. We will first study some of the basic ethical theories to familiarize ourselves with them, like utilitarianism, deontology and virtue ethics. Then we will address various issues that contain ethical problems in which the solution is not clear. This, we shall see, is often the case. In life, we are confronted with moral dilemmas where the clear choice between right and wrong is not present. That means that a deeper analysis of moral principles behind our choices are necessary. Our class will engage in these conflicts of choice, examining them carefully, engaging very often in in-class discussion and debate.

Distribution Area: P, Y

Prerequisite(s): Successful completion of Core 2 required

Distribution Area: P, Y

“I hear America singing, the varied carols I hear…” – Walt Whitman, poet, 1860. In this course, we’ll listen to those varied carols, whether songs of praise, of protest, or of mourning. This course offers a chronological study of histories of the United States, starting with colonization and continuing through the Civil War and Reconstruction. Throughout, students will practice `thinking historically` by using historical methods to explore major questions in American history. Students will work with primary, secondary, and tertiary sources in order to better understand the major issues of American history. We will pay particular attention to the ways that American history has been contested and debated, created and memorialized. Students will demonstrate their understandings in a midterm essay and a final essay, and they will create a creative performance project exploring an era, issue, or persona relating to the course.

Distribution Area: P, Y

American history is longer, larger, more various, more beautiful, and more terrible than anything anyone has ever said about it” - James Baldwin, black American author and activist, 1963. In this course, we will strive to understand some of that long, large, various, beautiful, and terrible history. This course offers a chronological survey of histories of the United States, from Reconstruction to the 21st century. Throughout, we will explore the connection between historical events and cultural history. We will pay particular attention to the development and dissemination of mass media and mass culture, whether film, radio, television, print media, or the internet. Students will demonstrate their understandings in a midterm essay and a final essay, and they will create a creative performance project exploring an era, issue, or persona relating to the course.

Prerequisite(s): Core 2 is a required prereq

Distribution Area: P, Y

This course is an introduction to sociology and social problems as a way of understanding the world. Sociology is a field of study that explains social, political, and economic phenomena in terms of social structures, social forces, and group relations. The course will introduce students to the problems that exist within the world and the relationship between individuals and society, which includes focusing on socialization, culture, the social construction of knowledge, inequality, race and ethnic relations, poverty, and political sociology. As a social science, sociology offers an objective and systematic approach to understanding the causes of social problems.

Distribution Area: P, Y

This course examines how music reflects and shapes issues of social class, mobility, and cultural identity. We’ll explore the role of music in civil rights movements, the emergence of hip hop as a response to urban inequality, and how the digital divide affects who gets to create and be heard. Through listening, discussion, and case studies, students will analyze how music can challenge, or reinforce, social boundaries.

Prerequisite(s): Prerequisite: Core 2

Distribution Area: P, Y

Music is integral to social justice movements and has inspired social and global change. It has been used variously as a coping mechanism, instrument of protest, site of resistance and a means of healing. This course will explore the intersection between music, social conflict, and social change. Students will examine social movements to analyze the social, cultural and political issues and learn why music plays such significant roles. For example, they will inquire why disco enabled the marginalized gay community and explore how anthems inspired pride and protest from the Civil Rights Movement to Black Lives Matter. By understanding why music has the power to bring about social change, students will learn to think reflexively about their own music.

Prerequisite(s): Core 2 is a required prereq

Distribution Area: P, Y

We’re taught to understand our bodies as natural. Everyone has one. They are universal objects, consistent across humanity. But, people around the world have differing conceptions of what bodies are, what they can do, and where they begin and end. Moreover, people’s experiences of their bodies are highly variant. Even at Peabody, for example, what lips do are very different if you are a dancer, a singer, a horn player, or a flautist. The class is designed to give students new ways of approaching their crafts by introducing them to multiple perspectives on how bodies do things in the world.

Distribution Area: P, Y

This course examines gender and gender relations as they are performed in spectacular and mundane settings. Gender is a key organizing category globally, though people’s experiences and ideas about what gender is and does vary dramatically across cultural and historical contexts. Drawing on anthropology, feminist studies, and performance studies scholarship, we will investigate how people do gender and what gender does in our cultural imaginaries. This interdisciplinary perspective seeks to show how culture and society shapes gender, how ideas about and experiences of gender are disseminated through performance, and how performances of gender affect culture and cultural meaning around the world.

Prerequisite(s): Core 2 is a required prereq

Distribution Area: P, Y

This course is an introduction to the interdisciplinary examination of sexual desires, sexual orientations, and the concept of sexuality generally, with a particular focus on the construction of queer identities. We will look specifically at how these identities interact with other phenomena such as government, family, and popular culture. In exploring sexual diversity, we will highlight the complexity and variability of sexualities, both across different historical periods, and in relation to identities of gender, race, class, and cultural location.

Prerequisite(s): Core 2 is a required prereq

Distribution Area: P, Y

This course delves into the dynamic world of social media, exploring its evolution, societal implications, and economic opportunities. Students will embark on a comprehensive journey through the history of social media platforms, tracing their development from rudimentary networking sites to sophisticated digital ecosystems.The course will critically analyze the multifaceted impact of social media on society, including its influence on communication patterns, social relationships, cultural norms, and democratic processes. Through case studies, discussions, and research projects, students will explore the various ways in which social media shapes individuals' identities, perceptions, and behaviors.

Distribution Area: P, Y

EcoPoetics, derived from the Greek words eco (household) and poiesis (to make), will explore writing and poetry, but also music, visual art, and civic ecology as expressions of relational and sustainable world making. Together, we will investigate definitions of home that include: how home is rooted in the larger ecology of the living world and how the making of place involves the making of relationships in the human and more than human worlds. From explorations into geologic history, to the direct listening of voices within nature and to the poets, musicians, and artists who give voice to nature, we will examine how science can inform and inspire literature, music, and art. Together, we will investigate how memory and intelligence might be found not just in human spheres, but in all of the natural world. Lastly, we will explore the ecological crises as a crises of relationship and how the arts might open a possibility for cultivating new relationships with the natural world.

Distribution Area: P, Y

This class looks at the history, theory, and practice of opera’s most overlooked and ridiculed element: the libretto, Italian for “little book.” Following the fortunes of the libretto from its origins to the present, we’ll see how different ideas about librettos influenced the evolution of opera. During our discussions, we’ll entertain theories about what makes a good libretto. For example, the theory that librettos can be like ugly frogs that the “kiss” of music turn into princely operas. Or that the duty of the librettist is to strip their literary source of all that makes it beautiful, so that the composer can fill all of that back in with music. Librettos come from many sources: dramas, novels, poems, historical events, and original ideas. We’ll ask how the libretto’s origins affect how it gets written. At the level of the sung word, we’ll listen to what happens when you translate a libretto from another language and how “singability” influences word choice. Finally, we’ll also apply this knowledge to writing our own librettos.

Distribution Area: P, Y

How often do you visit the George Peabody Library to find a quiet and inspiring place to work? Do you ever walk up the spiral staircase (designed by the same architect who designed the library) or just take the elevator? Are you aware that Peabody has a plaster copy of the Parthenon frieze, one of the most important artworks of Ancient Greece? Or what about the bronze cast of Lorenzo Ghiberti’s “Gates of Paradise,” a masterpiece of the early Renaissance? Did you know George Peabody conceived of the Peabody Institute as a home not only for a music conservatory but also, among other things, a public library and an art gallery? Though much of the art has disappeared, certain celebrated pieces remain, along with the library and the staircase. This class will take you around Peabody to look at these various works, as well as some of the architecture. We will study, for example, the Parthenon frieze, the “Gates of Paradise,” the George Peabody Library, and the Peabody Institute Spiral Staircase. We will interpret these works informed by historical context and theoretical support. But we will also simply read them closely, informed only by what we can see when we slow down and allow ourselves to feel a little appreciation and awe.

Distribution Area: P, Y

Weekly, one-on-one lessons in composition for middle-school students from the St. Ignatius Loyola Academy and Baltimore Leadership School for Young Women. The course culminates in a concert of new student works at the end of each semester.

Prerequisite(s): Open to Composition Majors and those with instructor permission. Non-Composition majors should email the instructor's permission to peabodyregistrar@jhu.edu to be registered.

Distribution Area: P, Y

This creativity-focused course deals with the compositional techniques, aesthetic concerns, and seminal works of composer members of the Association for the Advancement of Creative Musicians (AACM), a collective founded in 1965 and dedicated to the creation of “Great Black Music.” We will engage with this music through listening, score study, analysis, composition exercises, and performance. Composers studied include Anthony Braxton, George Lewis, Nicole Mitchell, Wadada Leo Smith, Matana Roberts, Henry Threadgill, and more.

An elective designed to familiarize students with composers, ensembles, and ideas associated with early 21st century music.

Distribution Area: P, Y

An elective designed to familiarize students with composers, ensembles, and ideas associated with early 21st century music.

Distribution Area: P, Y

Informal sessions in which works of students and faculty are discussed and important contemporary works, trends and techniques are analyzed. Required for composition majors. Open to others with permission of chair of department.

Prerequisite(s): Composition majors only. Non-majors interested in auditing the course should email department chair approval to peabodyregsitrar@jhu.edu.

Informal sessions in which works of students and faculty are discussed and important contemporary works, trends and techniques are analyzed. Required for composition majors. Open to others with permission of chair of department.

Prerequisite(s): Composition majors only. Non-majors interested in auditing the course should email department chair approval to peabodyregsitrar@jhu.edu.

The completion of works of major proportions, for full orchestra and chamber ensemble, as required in the Master of Music degree program. Graded on a S/U basis.

Prerequisite(s): Composition majors only.

The completion of works of major proportions, for full orchestra and chamber ensemble, accompanied by a substantial written commentary, as required in the Doctor of Musical Arts degree program.

Prerequisite(s): Composition majors only.

Informal sessions in which works of students and faculty are discussed and important contemporary works, trends and techniques are analyzed. Required for composition majors. Open to others with permission of chair of department.

Prerequisite(s): Composition majors only. Non-majors interested in auditing the course should email department chair approval to peabodyregsitrar@jhu.edu.

Informal sessions in which works of students and faculty are discussed and important contemporary works, trends and techniques are analyzed. Required for composition majors. Open to others with permission of chair of department.

Prerequisite(s): Composition majors only. Non-majors interested in auditing the course should email department chair approval to peabodyregsitrar@jhu.edu.

Undergraduate recital for Composition Majors.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Prerequisite(s): Open to DMA Composition Majors only.

A foundation of compositional and technical skills required to become a professional composer for New Media i.e., Film, TV, and videogames. These skills include (a) use of music software such as MIDI sequencers, digital audio workstations, synth plug-ins, orchestral sample libraries, and music/audio editors like in Pro Tools; and (b) an understanding of how to compose instrumental underscores for scenes from films and shows, utilizing the right emotions and dramatic moods, ambient and thematic beds. In New Media, you always have a customer--a film director, producer, show runner, game developer etc.--and you will learn how to talk to that customer and provide the music they need to enhance their project. As an extension of the New Media Seminar class, in which we screen notable movies and discuss their music scores, students will analyze the work of seminal composers of Western music and learn to compose by mimicking their style. Compositions will be scored and notated for common instruments but realized through software emulation. Software used in class: a digital audio workstation (Logic Pro) and orchestral sample libraries such as East/West Composer Cloud.Music for New Media majors only. Others may take course with permission of instructor.

Prerequisite(s): Music for New Media majors only. Others may take course with permission of instructor.

Further development of compositional skills as they relate to film, TV and video game scoring. Students will analyze historic and contemporary scores, considering the role of music when it is synchronized to picture. Students will be required to make short cues 'inspired by' or as 'clones' of cues from the movies they study. They will examine ways to invoke common cinematic moods using a range of scales/modes, intervals, chord sequences, and instrumental choices. In lab classes they will have time to individually work on simple exercises, making original themes and variations under headphones that they will then share with the rest of the class for critiques. They will have homework time to complete these pieces and be graded on them. Students will delve deeper into sample-based sound libraries, learning how to create simple orchestrations, arranged for common instruments but realized through software emulation. Software used in class: for composition--a digital audio workstation e.g., Logic Pro, Ableton Live, plus the Amadeus orchestral software library etc; for video editing and audio mastering--Avid ProTools.

Prerequisite(s): Music for New Media majors only.;Music for New Media 1, PY.320.101[C], required. Student must have received at least a B- in order to progress.

How can the principles of dramatic scoring be applied to non-linear media such as video games? What are the challenges, limitations, and opportunities in creating music for games? Students will adapt and apply tools and techniques from scoring film and TV to scoring videogames, while expanding their musical vocabulary into other traditions, styles, and palettes commonly found in music for media. Prerequisite: Music for New Media 2; Co-requisite: The Tools of New Media 1. Music for New Media majors only. Others may take course with permission of instructor.

Prerequisite(s): Music for New Media majors only. Others may take course with permission of instructor.;Music for New Media 2Co-requisite: The Tools of New Media 1.

Corequisite(s): Co-requisite: The Tools of New Media 1

Building on the foundations of creating music for games, students will create adaptive and interactive scores using techniques such as vertical layering, horizontal re-sequencing, and overlaid stingers. Students will investigate musical styles, techniques, and approaches and apply their findings to a game project. Prerequisite: Music for New Media 3; Co-requisite: The Tools of New Media 2. Music for New Media majors only. Others may take course with permission of instructor.

Prerequisite(s): Music for New Media 2; Co-requisite: The Tools of New Media 1. Music for New Media majors only. Others may take course with permission of instructor.;Music for New Media 3, PY.320.201[C], required. Student must have received at least a B- in order to progress.

Corequisite(s): Co-requisite: The Tools of New Media 2

How does technology complement and enhance the work of a composer working on film and games? Investigate the key components of modern sample libraries and how best to use them. Use modern synthesizers and samplers to create unique and compelling sonic landscapes to accompany moving images. Through “mock-up” exercises, various aspects of MIDI programming (“virtual orchestration” or “synthestration”) will be explored, culminating in building a moderate sized scoring template. Music for New Media majors only. Others may take course with permission of instructor.

Prerequisite(s): Completion of Introduction to Programming required (PY.350.466[C]).Music for New Media majors only. Others may take course with permission of instructor.;Music for New Media majors only.;Music for New Media 2, PY.320.102[C], required. Student must have received at least a B- in order to enroll.

Beyond writing music, music then needs to be implemented to become a part of the soundscape of a game. The ability to implement their music will open up additional opportunities for game composers. Students will learn how to create and manipulate objects using the C# programming language in the game engine, Unity. We will also explore the middleware audio engine Wwise to create deeper reactivity and variation in our scores. Music for New Media majors only. Others may take with permission from instructor.Completion of Introduction to Programming required (PY.350.466[C]).; Music for New Media 2, PY.320.102[C], required. Student must have received at least a B- in order to enroll.

Prerequisite(s): Completion of Introduction to Programming required (PY.350.466[C]).;Music for New Media 2, PY.320.102[C], required.Music for New Media majors only. Others may take course with permission of instructor.;Music for New Media majors only.;Tools of New Media 2, PY.320.212[C], required. Student must have received at least a B- in order to progress.

There are many specific jobs and duties in the audio industry, and currently, the post-production market is populated mostly by talented people who must understand and perform many of these duties, not just one. This course is designed to treat the composer as an audio mixer who must wear many hats in order to succeed. Students will not be asked to compose anything new, but they will learn how to mix their pieces better and see how those fit into the bigger picture.

Prerequisite(s): Must have completed MFNM 1-4

This course explores the business side of game audio and the creative and technical process of designing and integrating sound design for video games. It is a required course for students majoring in Music for New Media.

Prerequisite(s): Open to Music for New Media majors only.;Must have taken MFNM 1-4;Completion of PY.320.212 The Tools of New Media 2 required.

An overview of the core concepts, techniques, and skills used for creating music with a Digital Audio Workstation (DAW). This course is targeted towards media composition, but is applicable to anyone who wants to get started working with a DAW.

Distribution Area: P, Y

To gain experience in a professional setting related to film, game, or audio, students will complete 80-100 hours of an internship at a professional facility.

Prerequisite(s): Music for New Media and Film and Game Scoring majors only.

The culmination of all course work and private study in the degree, the Capstone Project is equivalent to a recital given by a performance major by demonstrating core competency in skills learned throughout the program and including a collaborative component. At the start of their final year, students will submit for approval an outline of their intended Capstone Project. Completed projects will be displayed, performed, demonstrated, etc. at the conclusion of their final semester of study.

Prerequisite(s): Music for New Media majors only.

A required course for New Media students. Particular attention will be paid to the role of music in media, as well as current industry trends and developments in the field. Gain a foundational understanding of film scores by watching major motion pictures in the company of an audience, discussing and analyzing the music, and examining the relationship between the filmmaker and the composer. In addition to screenings, various guest lectures will be given through the semester by successful industry professionals. After each event you will be required to submit an assignment, which may be either (a) to write a 300-500 word response to the movie and its score, or (b) to compose a short piece of music 'inspired by' this week's movie score.

A composition-focused course that involves extensive scene study and analysis as well as numerous writing assignments. The course will not only teach how to approach a specific moment in a feature film with the correct style, instrumentation, and orchestration for that genre but how to create a realistic mockup using samples from Musio as well as any other sample libraries students have access to. Students will also be encouraged to record live players through school whenever possible to enhance their “product” delivery.

Prerequisite(s): Graduate students in Film and Game Scoring;Undergraduates need to have completed MfNM4 (PY.320.202)

Distribution Area: P, Y

A foundation of compositional and technical skills required to become a professional composer for New Media, i.e., Film, TV, and videogames. These skills include (a) the use of music software such as MIDI sequencers, digital audio workstations, synth plug-ins, orchestral sample libraries, and music/audio editors like in Pro Tools; and (b) an understanding of how to compose instrumental underscores for scenes from films and shows, utilizing the right emotions and dramatic moods, ambient and thematic beds. Software used in class: a digital audio workstation (Logic Pro) and orchestral sample libraries such as East/West Composer Cloud.

Prerequisite(s): Open to MM in Film and Game Scoring majors only

Students will adapt and apply tools and techniques from scoring film and T.V. to scoring videogames while expanding their musical vocabulary into other traditions, styles, and palettes commonly found in music for media.

Prerequisite(s): Open to MM in Film and Game Scoring majors only

Students will investigate the key components of modern sample libraries and learn how best to use them. Modern synthesizers and samplers will be used to create unique and compelling sonic landscapes to accompany moving images. Through "mock-up" exercises, various aspects of MIDI programming ("virtual orchestration" or "synthestration") will be explored, culminating in building a moderate-sized scoring template.

Prerequisite(s): Open to MM in Game and Film Scoring majors only

A basic course in orchestral techniques. Offered fall and spring.

Distribution Area: P, Y

Designed for the student who desires more intensive study in conducting. Literature will be sequenced with the more difficult works in the Advanced Conducting course. Prerequisite: Basic Conducting or permission of instructor.

Distribution Area: P, Y

Designed for the student who desires more intensive study in conducting. Literature will be sequenced with the more difficult works in the Advanced Conducting course. Prerequisite: Basic Conducting or permission of instructor.

Distribution Area: P, Y

Designed for the student who desires more intensive study in conducting. Prerequisite: Intermediate Conducting or permission of the instructor.

Distribution Area: P, Y

Designed for the student who desires more intensive study in conducting. Prerequisite: Intermediate Conducting or permission of the instructor.

Distribution Area: P, Y

A survey of the a cappella vocal ensemble and choral-instrumental repertoire of the Renaissance and Baroque eras, with attention to historical performance practice.

Prerequisite(s): PY.001.330[C]

Distribution Area: P, Y

A study of choral literature for a capella, accompanied, and choral-orchestral ensembles from the Classical and Romantic eras.

Prerequisite(s): PY.001.330[C]

Distribution Area: P, Y

A study of choral literature for a capella, accompanied, and choral-orchestral ensembles from the twentieth and twenty-first centuries.

Prerequisite(s): PY.001.330[C]

Distribution Area: P, Y

Prerequisite(s): Conducting majors only.

Distribution Area: P, Y

A seminar in all aspects of conducting as a profession, from conducting technique, to ensemble management, to commissioning and programming. Each student will conduct the lab ensemble at least 30-60 min per week. Video recordings of each week's session will facilitate reflection and instructor feedback. Required of all conducting majors with a choral emphasis

Prerequisite(s): PY.001.330[C]

Distribution Area: P, Y

A seminar in all aspects of conducting as a profession, from conducting technique, to ensemble management, to commissioning and programming. Each student will conduct the lab ensemble at least 30-60 min per week. Video recordings of each week's session will facilitate reflection and instructor feedback. Required of all conducting majors with a choral emphasis.

Prerequisite(s): Open to majors only.

Distribution Area: P, Y

A seminar in all aspects of conducting as a profession, from orchestra management to program making. Videotapes of each week’s rehearsal with the conductor’s orchestra will be discussed. Required of all conducting majors

Prerequisite(s): Graduate Conducting majors only

A seminar in all aspects of conducting as a profession, from orchestra management to program making. Videotapes of each week’s rehearsal with the conductor’s orchestra will be discussed. Required of all conducting majors.

Prerequisite(s): Graduate Conducting majors only

The Graduate Wind Conducting Seminar provides an environment for listening, discussion, analysis, and historical perspectives of wind literature both new and ‘standard.’ It is a lab class, attendance is required.

Prerequisite(s): Graduate Wind Conducting majors only

The Graduate Wind Conducting Seminar provides an environment for listening, discussion, analysis, and historical perspectives of wind literature both new and ‘standard.’ It is a lab class, attendance is required.

Prerequisite(s): Graduate Wind Conducting majors only

The Graduate Wind Conducting Seminar provides an environment for listening, discussion, analysis, and historical perspectives of wind literature both new and ‘standard.’ It is a lab class, attendance is required.

Prerequisite(s): Graduate Wind Conducting majors only

The Graduate Wind Conducting Seminar provides an environment for listening, discussion, analysis, and historical perspectives of wind literature both new and ‘standard.’ It is a lab class, attendance is required.

Prerequisite(s): Graduate Wind Conducting majors only

1st recital for GPD, AD, and DMA Conducting majors. Final recital for MM Conducting majors. AD students must take for S/U grade.

Prerequisite(s): Majors only

Corequisite(s): Student must be co-registered in major lessons (Wind Conducting) or Conducting Seminar (Orchestral Conducting) or Choral Conducting: PY.100.100[C], PY.100.100[C], PY.050.100[C], PY.050.101[C], PY.330.845[C], PY.330.846[C], PY.330.847[C], PY.330.848[C], or PY.330.841, or PY.330.842 or PY.102.100

2nd recital for GPD, AD, and DMA Conducting majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.330.721[C], needed.

Corequisite(s): Student must be co-registered in major lessons (Wind Conducting) or Conducting Seminar (Orchestral Conducting) or PY.330.841 (Choral Conducting): PY.100.100[C], PY.100.100[C], PY.050.100[C], PY.050.101[C], PY.330.845[C], PY.330.846[C], PY.330.847[C], or PY.330.848[C] or PY.102.100

3rd recital for AD and DMA Conducting majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.330.722[C], needed.

Corequisite(s): Student must be co-registered in major lessons (Wind Conducting) or Conducting Seminar (Orchestral Conducting): PY.100.100[C], PY.100.100[C], PY.050.100[C], PY.050.101[C], PY.330.845[C], PY.330.846[C], PY.330.847[C], or PY.330.848[C].

4th recital for AD Conducting majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.330.723[C], needed.

Corequisite(s): Student must be co-registered in major lessons (Wind Conducting) or Conducting Seminar (Orchestral Conducting): PY.100.100[C], PY.100.100[C], PY.050.100[C], PY.050.101[C], PY.330.845[C], PY.330.846[C], PY.330.847[C], or PY.330.848[C].

Concerto recital for DMA Conducting majors. Must be co-enrolled in major lessons regardless of if in Residency or DIP.

Prerequisite(s): Majors only

Corequisite(s): Student must be co-registered in major lessons (Wind Conducting) or Conducting Seminar (Orchestral Conducting): PY.100.100[C], PY.100.100[C], PY.050.100[C], PY.050.101[C], PY.330.845[C], PY.330.846[C], PY.330.847[C], or PY.330.848[C].

Chamber recital for DMA Conducting majors. May be taken either during Residency or DIP period. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Lecture recital for DMA Conducting majors. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Prerequisite(s): Open to Hip Hop majors only

A structured introduction to the exploration of melody, harmony, rhythm, and frequency as they specifically relate to sampling techniques, live Hip-Hop performance, and the effective transference and dissemination of knowledge and practices of the artform.

Prerequisite(s): Open to Hip Hop majors only.;Successful completion of Theory 2 required

Building on material from Hip Hop Theory 1, analysis of rhythm, use of microtonal texture and interval relationship in sampling, advanced representations of rhythm, turntable.

Prerequisite(s): Successful completion of Theory 2 (PY.710.112).

A course designed to develop requisite aural skills to detect and identify pitches, intervals, melody, chords, rhythms, and sonic textures. Students will also increase their ability to accurately emulate and create desired sonic characteristics representative of Hip Hop’s vast, varied, and continuously growing sonic landscape.

Prerequisite(s): Open to Hip Hop majors only.

A continuation and deeper, granular study of the concepts explored in Hip Hop Ear Training 1.

Prerequisite(s): Successful completion of Hip Hop Ear Training 1.

A continuation of the study of Hip Hop’s history, exploring the trajectory of Hip Hop from the early 2000’s to present day.

Prerequisite(s): Successful completion of History of Hip Hop 1.

Prerequisite(s): Open to Hip Hop majors only.

A history and workshop course designed to illuminate the history of Hip Hop music.

Prerequisite(s): Hip Hop majors only.

Distribution Area: P, Y

Conceived as a follow-up class to “Hip Hop Music Production: History and Practice 1”, this course is designed to further explore production styles and techniques of prominent as well as lesser known producers, and to provide students with opportunities to build on production skills learned in “Hip Hop Music Production: History and Practice 1”. Students will have the opportunity to produce hip hop in a number of different styles, as well as to learn mixing and mastering techniques used to bring a recording project to completion.

Prerequisite(s): Completion of Hip Hop Music Production 1 needed, PY.340.409[C] OR PY.350.409[C]

Distribution Area: P, Y

Prerequisite(s): Hip Hop majors only.

Prerequisite(s): Open to Hip Hop majors only.

Undergraduate students majoring in performance areas must give a senior recital in their final year of study.

Prerequisite(s): Open to Hip Hop majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] OR PY.100.101[C] OR PY.050.100[C] OR PY.050.101[C]

A history and workshop course designed to illuminate the history of Hip Hop music. This course is open to non-majors.

Distribution Area: P, Y

Conceived as a follow-up class to “Hip Hop Music Production: History and Practice 1”, this course is designed to further explore production styles and techniques of prominent as well as lesser known producers, and to provide students with opportunities to build on production skills learned in “Hip Hop Music Production: History and Practice 1”. Students will have the opportunity to produce hip hop in a number of different styles, as well as to learn mixing and mastering techniques used to bring a recording project to completion.

Prerequisite(s): Completion of Hip Hop Music Production 1 needed, PY.350.409[C].

Distribution Area: P, Y

This course builds on the skills learned in Introduction to Computer Music to focus on the art of mixing. Students will learn the techniques and tools behind making a great mix, starting with the fundamentals of EQs, compressors, filters, distortion, etc and expanding to explore creative applications of these tools. This project-based course will combine focused assignments designed to gain an understanding of the tools of the mixing studio and personal mix projects that showcase the student’s personal voice as a producer. Computer Music Majors only. Completion of Intro to Computer Music 1 and 2.

Prerequisite(s): Majors only; Intro to Computer Music 1 and 2

A study of the techniques, repertoire, and aesthetics of computer music. Composition and research projects are completed using the resources of the Computer Music Studios. Participation in at least one public program.

Distribution Area: P, Y

A study of the techniques, repertoire, and aesthetics of computer music. Composition and research projects are completed using the resources of the Computer Music Studios. Participation in at least one public program.

Prerequisite(s): Completion of Introduction to Computer Music 1 needed, PY.350.463[C].

Distribution Area: P, Y

This course is designed for musicians and digital artists who wish to learn Multimedia Programming. We will use P5js programming language to examine techniques and algorithms to manipulate sounds, images, movies, text and web pages. Also, we will learn to acquire and use related open-source programs and libraries to simplify our work. No previous programming experience is required.

Distribution Area: P, Y

For students who already have a strong foundation in Computer Music, this course provides an introduction to Film Scoring. The class focuses on film scoring theory and analysis, introduction to software instruments for orchestral and electronic scoring, and applied projects focused on creating original music for existing scenes.

Prerequisite(s): Students must have completed Intro to Computer Music 1 and 2

Distribution Area: P, Y

Students will explore the creative, technical, and sociopolitical elements of popular songwriting through critical listening, musical and lyrical analysis, collaboration and the general study of songwriting and production as a compositional tool. This course will be offered remotely, with some in-person opportunities.

The seminar focuses on the work of student and faculty composers, with class discussion of on current developments in the field of computer music. Required for computer music majors. Open to others with permission of the faculty.

Prerequisite(s): Computer Music majors only. Non-majors interested in auditing the course should email department chair approval to peabodyregsitrar@jhu.edu.

The seminar focuses on the work of student and faculty composers, with class discussion of on current developments in the field of computer music. Required for computer music majors. Open to others with permission of the faculty.

Prerequisite(s): Computer Music majors only. Non-majors interested in auditing the course should email department chair approval to peabodyregsitrar@jhu.edu.

A scholarly work describing the author’s research activities as required for the Research track of the MM program in Computer Music.

Prerequisite(s): Computer Music majors only.

The completion and submission of works of major proportions that utilize computer technology as required by the Master of Music degree program in Computer Music. The compositions must be written during your tenure at Peabody and be approved by your major teacher and departmental faculty. Graded on a S/U basis.

Prerequisite(s): Computer Music - Composition Track majors only.

Students are introduced to the fundamentals of machine listening, data science, and machine learning by applying these techniques to musical materials. Topics include neural networks, classification, regression, dimensionality reduction, clustering, and spectral decomposition. Student work focuses on using personally-created datasets for analysis, training, and the creation of original artistic expressions.

Prerequisite(s): Digital Music Programming 1 needed.;Open to Composition or MET majors

Distribution Area: P, Y

A course that covers advanced computer music studio techniques. Topics include stereo and surround sound microphone techniques, Ambisonic and Atmos multichannel diffusion, network audio, fft-based spectral processing, concert production, and audio Mastering. Prerequisite: Completion of Introduction to Computer Music 2 and Mixing Electronic Music (Undergraduate Only)

Prerequisite(s): Undergraduate Computer Music majors only.

Distribution Area: P, Y

This course teaches computer programming theory and skills pertaining to computer music composition, performance, and research. The primary focus of the course is the Max/MSP/Jitter suite of programming tools. Prerequisite: Undergraduates must have completed Introduction to Computer Music and Intro to Programming (Peabody) or Gateway Computing (Homewood).

Prerequisite(s): Undergraduates wishing to take Digital Music Programming must have completed Introduction to Computer Music and Intro to Programming (Peabody) or Gateway Computing (Homewood).

Distribution Area: P, Y

This course will offer an introduction to computer-based music making with the audio programming language SuperCollider. We will explore the potentials of SC, including sound synthesis, composing with algorithmic patterns, and the use of hardware controllers to manipulate live audio processes. The course will offer a mixture of lecture, workshop and listening sessions, providing both a historical and theoretical context to digital music programming. Prerequisite: Undergraduates must have completed Introduction to Computer Music and Intro to Programming (Peabody) or Gateway Computing (Homewood).

Prerequisite(s): Undergraduates must have completed Intro to Programming (Peabody) or Gateway Computing (Homewood).

Distribution Area: P, Y

The History of Electroacoustic Music is an overview of the development of electroacoustic music in the twentieth century. Intended for the student with little or no knowledge of this field's history and literature, the course is designed to provide a general familiarity with the major trends and developments as well as to allow for more detailed study on topics of particular interest to the class.

Prerequisite(s): Computer Music majors only.

Distribution Area: P, Y

The seminar focuses on the work of student and faculty composers, with class discussion of on current developments in the field of computer music. Required for computer music majors. Open to others with permission of the faculty.

Prerequisite(s): Computer Music majors only. Non-majors interested in auditing the course should email department chair approval to peabodyregsitrar@jhu.edu.

The seminar focuses on the work of student and faculty composers, with class discussion of on current developments in the field of computer music. Required for computer music majors. Open to others with permission of the faculty.

Prerequisite(s): Computer Music majors only. Non-majors interested in auditing the course should email department chair approval to peabodyregsitrar@jhu.edu.

Synthesis Theory explores advanced topics in digital music making. Each term will focus on one or more themes. The fall section of the course covers musical robotics and instrument building using the Arduino platform. Students will have use of the maker space in the Computer Music Studios to complete their projects. Prerequisite: Undergraduates must have completed Introduction to Computer Music and Intro to Programming (Peabody) or Gateway Computing (Homewood).

Prerequisite(s): Undergraduates wishing to take Synthesis Theory must have completed Intro to Programming and Intro to Computer Music (Peabody) or Gateway Computing (Homewood).

Corequisite(s): Students must co-register in Digital Music Programming 1, PY.350.837[C].

Distribution Area: P, Y

Synthesis Theory 2 explores advanced topics in Digital Signal Processing, including advanced synthesis techniques, Fourier transforms, and machine listening and machine learning. Corequisite: Students must co-register for or have already taken Digital Music Programming 2 or equivalent.

Distribution Area: P, Y

Undergraduate recital for Computer Music Majors.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Capstone project for student pursuing the BM in General Performance.

Designed to develop the skill of continuo playing, fluent reading and improvising from a figured bass, this course uses exercises and repertoire in a cumulative approach. Open to all qualified keyboard students as well as non-keyboard students with proficient keyboard skills and permission of the instructor.

Distribution Area: P, Y

An introduction to the playing of early repertoire on period violin or viola and bow. The student will learn the basics of baroque technique and will be introduced to a range of music, from early Baroque to early Classical, and its interpretation from a historical perspective.

Distribution Area: P, Y

An introduction to the playing of early repertoire on period violin or viola and bow. The student will learn the basics of baroque technique and will be introduced to a range of music, from early Baroque to early Classical, and its interpretation from a historical perspective.

Distribution Area: P, Y

An introduction to the playing technique of the viola da gamba through easy to intermediate-level ensemble literature. A preparatory step to consort playing and the viol solo literature. Prior string experience is not necessary.

Distribution Area: P, Y

An introduction to the playing technique of the viola da gamba through easy to intermediate-level ensemble literature. A preparatory step to consort playing and the viol solo literature. Prior string experience is not necessary.

Distribution Area: P, Y

Lessons on the techniques and styles of historical fretted instruments in the lute and guitar families, Renaissance to baroque. Students may choose to learn any of Peabody's historical plucked instruments: renaissance lute, baroque lute, baroque guitar and theorbo. The class will operate on two tracks: 1) beginning group instruction and 2) private or semi-private lessons for advancing players. No prior experience necessary.

Distribution Area: P, Y

Students will learn important tenets of 18th century performance practice by looking at major repertoire such as Bach cantatas and Passions, and sonatas and concertos by Handel and Telemann. Focus will be given to relevant examples from J.J. Quantz’s 1752 treatise on performance practice. Study may be done entirely on baroque oboe, or a combination of modern oboe with some experimentation on baroque oboe.

Distribution Area: P, Y

This class will focus on the primary compositional trends and corresponding performance practices of early, middle, high and late baroque music for lute, archlute and theorbo. Each two-hour meeting will be divided into 2 parts: sharing of information from light research assignments and in-class performances of repertoire that demonstrate relevant compositional styles and performance practices, as well as points for consideration when transcribing for classical guitar. Research and performance assignments will be shared among students from week to week. Required for MM guitar majors.

Distribution Area: P, Y

Intensive study of repertoire and genres for Renaissance lute and vihuela through listening, transcribing, and performance of selected works from French, Italian, and German tablatures. Works of Francesco da Milano and John Dowland will be a main focus. Required for MM guitar majors.

Distribution Area: P, Y

A chronological survey of the viola da gamba and its literature from the 16th to 18th centuries. The class will be an opportunity to become familiar with a rich repertoire little known to non- specialists, and to learn about how the world of the baroque era relates to our own. No prior experience in historical performance is required. Prerequisite: History of Music 1, 2, or permission of instructor.

Distribution Area: P, Y

A chronological survey of violoncello literature, pedagogical as well as musical, with an emphasis on historical techniques and performance practices of the 17th, 18th, and 19th centuries. No prior experience in historical performance is required, but some familiarity with cello repertoire is expected. Prerequisite: History of Music 1, 2, or permission of instructor.

Prerequisite(s): Undergrads need PY.610.321[C] OR PY.610.322[C] in order to enroll. Grads need to have passed the Musicology Proficiency exam or passed the music history review course.

Distribution Area: P, Y

A chronological survey of the violin and viola literature, pedagogical and musical, from its origins in the 16th century to the high baroque of the 18th century. No prior experience in historical performance is required, but some familiarity with violin repertoire is expected. Prerequisite: History of Music 1, 2, or permission of instructor.

Prerequisite(s): Undergrads need PY.610.321[C] OR PY.610.322[C] in order to enroll. Grads need to have passed the Musicology Proficiency exam or passed the music history review course.

Distribution Area: P, Y

A chronological survey of the solo and, especially, chamber music for strings from the time of Leopold Mozart through Beethoven’s life and beyond, with consideration of the music’s social contexts and performance practices. Included will be an overview of the pedagogical material. No prior experience in historical performance is required. Prerequisite: History of Music 1, 2, or permission of instructor.

Prerequisite(s): Undergrads need PY.610.321[C] OR PY.610.322[C] in order to enroll. Grads need to have passed the Musicology Proficiency exam or passed the music history review course.

Distribution Area: P, Y

This course combines the history of the violoncello with hands-on experience. Students have use of Peabody’s recently “baroqued” instruments and work with primary source tutorials as an introduction to performance practice. Solo and ensemble playing are integral to the course. The art of bowed continuo playing is stressed and practiced in ensembles with other “original” instruments.

Distribution Area: P, Y

This course combines the history of the violoncello with hands-on experience. Students have use of Peabody’s recently “baroqued” instruments and work with primary source tutorials as an introduction to performance practice. Solo and ensemble playing are integral to the course. The art of bowed continuo playing is stressed and practiced in ensembles with other “original” instruments.

Distribution Area: P, Y

A detailed two-semester course exploring the varied ornamentation practices of Baroque music from around 1600-1765. Emphasizing original sources, improvisation, and performance practice, students learn to execute, add and improvise ornamentation in styles appropriate to the time and national style. The fall semester focuses on ornamentation in the 17th century in Italy, France, Germany and England. The spring semester can only be taken after completion of the fall semester, and focuses on ornamentation in the 18th century.

Distribution Area: P, Y

A detailed two-semester course exploring the varied ornamentation practices of Baroque music from around 1600-1765. Emphasizing original sources, improvisation, and performance practice, students learn to execute, add and improvise ornamentation in styles appropriate to the time and national style. The fall semester focuses on ornamentation in the 17th century in Italy, France, Germany and England. The spring semester can only be taken after completion of the fall semester, and focuses on ornamentation in the 18th century.

Prerequisite(s): Completion of Baroque Ornamentation 1 required, PY.380.441[C]

Distribution Area: P, Y

An introduction to the baroque flute (transverse and common) and to its literature from the 18th century, with attention to questions of style, articulation and ornamentation. This class operates on three tracks: beginning group instruction on baroque flute; private or semi-private lessons for advancing baroque flute players; and performance practice-based coaching of baroque repertoire performed on modern flutes. This class interacts with the annual Bach Marathon. No prior historical performance training is required, but students who are not proficient on modern flute should seek permission from the instructor.

Distribution Area: P, Y

An introduction to the baroque flute (transverse and common) and to its literature from the 18th century, with attention to questions of style, articulation and ornamentation. This class operates on three tracks: beginning group instruction on baroque flute; private or semi-private lessons for advancing baroque flute players; and performance practice-based coaching of baroque repertoire performed on modern flutes. This class interacts with the annual Bach Marathon. No prior historical performance training is required, but students who are not proficient on modern flute should seek permission from the instructor.

Distribution Area: P, Y

A continuation of Continuo 1: Figured Bass (380.315). Students build upon the basic skills of reading figured bass by playing a wide range of repertoire with other instrumentalists and singers. Students learn to shape the bass line, develop ensemble skills and improvise creative realizations. Repertoire includes 17th and 18th c. works from Italy, France, Germany and England for instruments or voice, including a focus on recitative.

Prerequisite(s): Completion of Continuo 1 required, PY.380.315[C].

Distribution Area: P, Y

A practical course, with the goal of achieving sophisticated, idiomatic ornamentations of high baroque German lute music and their arrangements for classical guitar. Students will apply everything studied directly to their instruments and perform their homework in class. Offered on an as-needed basis.

Distribution Area: P, Y

Continuation of the techniques learned in semester one.

Prerequisite(s): Successful completion of Bach/Weiss/Ornamenting Lute & Guitar 1

Distribution Area: P, Y

A course in tuning and basic maintenance, with special emphasis on historical temperaments and tuning by ear. Includes some study of the various national styles of construction and development of harpsichords. Majors must pass this course with a grade of B or higher. Offered on an as-needed basis.

Distribution Area: P, Y

Guided instruction and practice to realize continuo on fretted instruments. Open to all students who can realize figured bass on a lute or guitar.

Distribution Area: P, Y

Continuation, from Continuo 1, of the guided instruction and practice to realize continuo on fretted instruments

Prerequisite(s): Successful completion of Continuo for Lutenists and Guitarists 1.

Distribution Area: P, Y

A practical course focused on art song from the high- and late Renaissance. Students learn and coach a variety of genres, including Spanish villancico, French chanson, Italian frottola and English lute song, with a focus on stylistic singing and accompaniment. Supplemental topics include relevant intellectual trends, and historical diction. All lute and vihuela accompaniments available in staff notation for keyboard players.

Distribution Area: P, Y

A practical course focused on art song from the high- and late Renaissance. Students learn and coach a variety of genres, including Spanish villancico, French chanson, Italian frottola and English lute song, with a focus on stylistic singing and accompaniment. Supplemental topics include relevant intellectual trends, and historical diction. All lute and vihuela accompaniments available in staff notation for keyboard players.

Distribution Area: P, Y

Beginning and intermediate instruction on vented natural trumpets for use in Baroque performance practice and period performance. Studies will include appropriate style and articulation, and Baroque gesture. The class will include ensemble playing and the study of important excerpts.

Distribution Area: P, Y

Undergraduate recital for Historical Performance Majors.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

1st recital for GPD, AD, and DMA Historical Performance majors. Final recital for MM Historical Performance majors. AD students must take for S/U grade.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

2nd recital for GPD, AD, and DMA Historical Performance majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.380.721[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

3rd recital for AD and DMA Historical Performance majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.380.722[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

4th recital for AD Historical Performance majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.380.723[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Concerto recital for DMA Historical Performance majors. Must be co-enrolled in major lessons regardless of if in Residency or DIP.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Chamber recital for DMA Historical Performance majors. May be taken either during Residency or DIP period. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Lecture recital for DMA Historical Performance majors. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Prerequisite(s): Historical Performance majors only.

Prerequisite(s): Historical Performance majors only.

Prerequisite(s): Historical Performance majors only.

The development of orchestral skills through low brass sectionals; performance in trombone choir, departmental recitals, and mock orchestral auditions.

Prerequisite(s): Brass majors only

Distribution Area: P, Y

The development of orchestral skills through low brass sectionals; performance in trombone choir, departmental recitals, and mock orchestral auditions.

Prerequisite(s): Brass majors only

Distribution Area: P, Y

Open to all horn students who wish to experience a variety of performing situations involving solo and orchestral repertoire. Includes a class recital and mock audition each semester.

Prerequisite(s): Brass majors only

Distribution Area: P, Y

Open to all horn students who wish to experience a variety of performing situations involving solo and orchestral repertoire. Includes a class recital and mock audition each semester.

Prerequisite(s): Brass majors only

Distribution Area: P, Y

Open to all trumpet students who wish to experience a variety of performing situations involving solo and orchestral repertoire.

Prerequisite(s): Brass majors only

Distribution Area: P, Y

Open to all trumpet students who wish to experience a variety of performing situations involving solo and orchestral repertoire.

Prerequisite(s): Brass majors only

Distribution Area: P, Y

Basic techniques of breathing and breath control for brass instruments tailored to the student’s instrument with a goal of enhancing one’s use of air and efficiency to improve performances. Consists of five private one-hour lessons during the semester. Enrollment is limited to three students per semester.

Prerequisite(s): Brass or Woodwind majors only

Distribution Area: P, Y

Performance of large brass ensemble repertoire and British-style brass band repertoire; rehearsal of important orchestral literature for brass.

Distribution Area: P, Y

Performance of large brass ensemble repertoire and British-style brass band repertoire; rehearsal of important orchestral literature for brass

Distribution Area: P, Y

This class focuses on real world ensemble skills such as intonation, rhythmic accuracy and togetherness, artistic collaboration and stylistic concepts. Students prepare for final performances each semester as well as for the National Trumpet Competition. Participants must be willing to attend the NTC in mid-March. Admission by Audition.

Distribution Area: P, Y

This class focuses on real world ensemble skills such as intonation, rhythmic accuracy and togetherness, artistic collaboration and stylistic concepts. Students prepare for final performances each semester as well as for the National Trumpet Competition. Participants must be willing to attend the NTC in mid-March. Admission by Audition.

Distribution Area: P, Y

Performance of large brass ensemble repertoire and British-style brass band repertoire; rehearsal of important orchestral literature for brass

Distribution Area: P, Y

Undergraduate recital for Brass instrument Majors.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

1st recital for GPD, AD, and DMA Brass instrument majors. Final recital for MM Brass instrument majors. AD students must take for S/U grade.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

2nd recital for GPD, AD, and DMA Brass instrument majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.410.721[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

3rd recital for AD and DMA Brass instrument majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.410.722[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

4th recital for AD Brass instrument majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.410.723[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Concerto recital for DMA Brass instrument majors. Must be co-enrolled in major lessons regardless of if in Residency or DIP.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Chamber recital for DMA Brass instrument majors. May be taken either during Residency or DIP period. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Lecture recital for DMA Brass instrument majors. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Prerequisite(s): Brass majors only

Prerequisite(s): Brass majors only

Prerequisite(s): Brass majors only

PY.415.567 Consists of 14 hours of coaching per semester with students performing works for both percussion group and mixed ensemble. The most outstanding of these projects will receive a performance on the Peabody Percussion Group Concert.

Prerequisite(s): Percussion majors only.

Distribution Area: P, Y

PY.415.568 Consists of 14 hours of coaching per semester with students performing works for both percussion group and mixed ensemble. The most outstanding of these projects will receive a performance on the Peabody Percussion Group Concert.

Prerequisite(s): Percussion majors only.

Distribution Area: P, Y

Undergraduate recital for Percussion Majors.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

1st recital for GPD, AD, and DMA Percussion majors. Final recital for MM Percussion majors. AD students must take for S/U grade.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

2nd recital for GPD, AD, and DMA Percussion majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.415.721[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

3rd recital for AD and DMA Percussion majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.415.722[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

4th recital for AD Percussion majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.415.723[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Concerto recital for DMA Percussion majors. Must be co-enrolled in major lessons regardless of if in Residency or DIP.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Chamber recital for DMA Percussion majors. May be taken either during Residency or DIP period. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Lecture recital for DMA Percussion majors. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Prerequisite(s): Percussion majors only.

Prerequisite(s): Percussion majors only.

Prerequisite(s): Percussion majors only.

Individual performances of standard and contemporary repertoire with discussion of both musical and practical aspects of performance. May include chamber performances. Required for harp majors in each semester.

Prerequisite(s): Harp majors only.

Distribution Area: P, Y

Individual performances of standard and contemporary repertoire with discussion of both musical and practical aspects of performance. May include chamber performances. Required for harp majors in each semester.

Prerequisite(s): Harp majors only.

Distribution Area: P, Y

Undergraduate recital for Harp Majors.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

1st recital for GPD, AD, and DMA Harp majors. Final recital for MM Harp majors. AD students must take for S/U grade.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

2nd recital for GPD, AD, and DMA Harp majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.420.721[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

3rd recital for AD and DMA Harp majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.420.722[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

4th recital for AD Harp majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.420.723[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Concerto recital for DMA Harp majors. Must be co-enrolled in major lessons regardless of if in Residency or DIP.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Chamber recital for DMA Harp majors. May be taken either during Residency or DIP period. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Lecture recital for DMA Harp majors. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Prerequisite(s): Harp majors only.

Prerequisite(s): Harp majors only.

Prerequisite(s): Harp majors only.

Undergraduate Senior recital for String instrument Majors.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

1st recital for GPD, AD, and DMA String instrument majors. Final recital for MM String instrument majors. AD students must take for S/U grade.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

2nd recital for GPD, AD, and DMA String instrument majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.425.721[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

3rd recital for AD and DMA String instrument majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.425.722[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

4th recital for AD String instrument majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.425.723[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Concerto recital for DMA String instrument majors. Must be co-enrolled in major lessons regardless of if in Residency or DIP.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Chamber recital for DMA String instrument majors. May be taken either during Residency or DIP period. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Lecture recital for DMA String instrument majors. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

The development of orchestral performance skills for violinists. Emphasis on repertoire and preparation for auditions. Open to majors only.

Prerequisite(s): String majors only.

Distribution Area: P, Y

The development of orchestral performance skills for violinists. Emphasis on repertoireand preparation for auditions. Open to majors only.

Prerequisite(s): String majors only.

Distribution Area: P, Y

The development of orchestral performance skills for violists. Minimum of three students per class. Open to majors only.

Prerequisite(s): String majors only.

Distribution Area: P, Y

The development of orchestral performance skills for violists. Emphasis on repertoire andpreparation for auditions. Open to majors only.

Prerequisite(s): String majors only.

Distribution Area: P, Y

The development of orchestral performance skills for cellists. Emphasis on repertoire and preparation for auditions. Open to majors only.

Prerequisite(s): String majors only.

Distribution Area: P, Y

The development of orchestral performance skills for cellists. Emphasis on repertoire andpreparation for auditions. Open to majors only.

Prerequisite(s): String majors only.

Distribution Area: P, Y

The development of orchestral performance skills for double bassists. Open to majors only.

Prerequisite(s): String majors only.

Distribution Area: P, Y

The development of orchestral performance skills for double bassists. Open to majors only.

Prerequisite(s): String majors only.

Distribution Area: P, Y

Training for prospective violin/viola teachers with study of various pedagogues. Materials covered include setup, left hand, bow hand, sequencing of instruction and repertoire from the beginning to advanced levels. Observation of violin/viola instructors in the Peabody Preparatory and supervised studio teaching experience. Open to both upper-level undergraduates and graduate violinists and violists in the fall semester and by permission of instructor in the spring semester.

Prerequisite(s): String majors only.

Distribution Area: P, Y

Training for prospective violin/viola teachers with study of various pedagogues. Materialscovered include setup, left hand, bow hand, sequencing of instruction and repertoire fromthe beginning to advanced levels. Observation of violin/viola instructors in the Peabody Preparatoryand supervised studio teaching experience. Open to both upper-level undergraduatesand graduate majors in the fall semester and by permission of instructor in the springsemester.

Prerequisite(s): String majors only.;Completion of Violin/Viola Pedagogy 1 required, PY.425.651[C].

Distribution Area: P, Y

Prerequisite(s): String majors only.

Prerequisite(s): String majors only.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Undergraduate recital for Woodwind instrument Majors.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

1st recital for GPD, AD, and DMA Woodwind instrument majors. Final recital for MM Woodwind instrument majors. AD students must take for S/U grade.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

2nd recital for GPD, AD, and DMA Woodwind instrument majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.430.721[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

3rd recital for AD and DMA Woodwind instrument majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.430.722[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

4th recital for AD Woodwind instrument majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.430.723[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Concerto recital for DMA Woodwind instrument majors. Must be co-enrolled in major lessons regardless of if in Residency or DIP.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Chamber recital for DMA Woodwind instrument majors. May be taken either during Residency or DIP period. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Lecture recital for DMA Woodwind instrument majors. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Prerequisite(s): Woodwind majors only.

Prerequisite(s): Woodwind majors only.

Prerequisite(s): Woodwind majors only.

The development of orchestral performance skills for clarinet with emphasis on repertoire.

Prerequisite(s): Woodwind majors only.

Distribution Area: P, Y

The development of orchestral performance skills for clarinet with emphasis on repertoire.

Prerequisite(s): Woodwind majors only.

Distribution Area: P, Y

An elective designed to familiarize clarinet students with 21st century repertoire, clarinetists, composers, and techniques and their pedagogy.

Distribution Area: P, Y

Prerequisite(s): Woodwind majors only.

Distribution Area: P, Y

Covers repertoire from both solo and orchestral literature in order to increase proficiency,familiarity, and comfort with the “little flute.” Emphasis on audition preparation and experience.Required material: Jack Wellbaum’s Orchestral Excerpts for Piccolo.

Prerequisite(s): Woodwind majors only.

Distribution Area: P, Y

The development of orchestral performance skills for flute with emphasis on repertoire.

Prerequisite(s): Woodwind majors only.

Distribution Area: P, Y

The development of orchestral performance skills for flutists with particular emphasis onstandard orchestral flute solos and how they are traditionally performed for today’s ensemblesand conductors, with focus on orchestral audition preparation and the developmentof skills unique to this setting and the demands of this repertoire: employing various stylesof articulation to enhance ensemble playing, learning methods for tuning under differentcircumstances and techniques for projection, exercising improved self-perception andunderstanding, developing knowledge of some acoustic phenomena of other orchestralinstruments, practicing observation as a method for honing one’s own performance skills,applying the laws of nature to the process of creative interpretation. We frequently coverstandard excerpts which apply to the entire flute section or parts thereof. Usually the classincludes one Mock Audition per semester. Students practice building listening, observation,and teaching skills as a part of offering support and feedback to colleagues. They willbecome familiar not only with how to audition but also with how to adjudicate auditions.

Prerequisite(s): Woodwind majors only.

Distribution Area: P, Y

The development of orchestral performance skills for oboe and English horn with emphasis on repertoire.

Prerequisite(s): Woodwind majors only.

Distribution Area: P, Y

The development of orchestral performance skills for oboe and English horn with emphasison repertoire.

Prerequisite(s): Woodwind majors only.

Distribution Area: P, Y

The development of orchestral performance skill for bassoon with emphasis on repertoire.

Prerequisite(s): Woodwind majors only.

Distribution Area: P, Y

The development of orchestral performance skill for bassoon with emphasis on repertoire.

Prerequisite(s): Woodwind majors only.

Distribution Area: P, Y

The construction of oboe reeds.

Prerequisite(s): Woodwind majors only.

Distribution Area: P, Y

The construction of oboe reeds.

Prerequisite(s): Woodwind majors only.

Distribution Area: P, Y

An in-depth study of basic accompanying and vocal coaching skills, including diction and phonetics, standard aria repertoire, operatic and oratorio coaching, discussion of voice types and the fach system, ornamentation, and musical style. Also incorporates score preparation techniques, strategies for playing orchestral piano reductions, continuo/recitative playing, musical theater styles, synthesizer skills, lead sheet reading, transposition, and improvisation. Prepares students for young artist internship auditions and positions. Open to qualified piano, conducting, and other keyboard students at the graduate level, this course is required for all Ensemble Arts majors. Enrollment by instructor permission.

Distribution Area: P, Y

A continuation of Accompanying and Coaching Skills 1. An in-depth study of basic accompanying and vocal coaching skills, including diction and phonetics, standard aria repertoire, operatic and oratorio coaching, discussion of voice types and the fach system, ornamentation, and musical style. Also incorporates score preparation techniques, strategies for playing orchestral piano reductions, continuo/recitative playing, musical theater styles, synthesizer skills, lead sheet reading, transposition, and improvisation. Prepares students for young artist internship auditions and positions. Open to qualified piano, conducting, and other keyboard students at the graduate level, this course is required for all Ensemble Arts majors. Enrollment by instructor permission.

Distribution Area: P, Y

Designed for the concentrated study of the sonata and duo literature for orchestral instruments and piano. Strings, winds and brass are all welcome. Students are encouraged to register with a partner because it can be difficult to find one once the semester has begun.Graduating students are encouraged to enroll during the fall semester, since they will be preoccupied with auditions during the spring semester and be frequently absent from class. If demand is higher than the available spaces, preference will be given to students who have not taken the class before.

Distribution Area: P, Y

Designed for the concentrated study of the sonata and duo literature for orchestral instruments and piano. Strings, winds and brass are all welcome. Students are encouraged to register with a partner because it can be difficult to find one once the semester has begun.Graduating students are encouraged to enroll during the fall semester, since they will be preoccupied with auditions during the spring semester and be frequently absent from class. If demand is higher than the available spaces, preference will be given to students who have not taken the class before.

Distribution Area: P, Y

A continuation of Accompanying and Coaching Skills 3, this course is designed to build repertoire, interpretation, and coaching skills in the operatic literature. Open to qualified piano, conducting, and other keyboard students at the graduate level, this course is required for all Ensemble Arts majors. Enrollment by instructor permission.

Distribution Area: P, Y

Participation as student coach in the preparation and performance of scenes from the operatic repertoire, in simple stagings with piano accompaniment. Offered on an as- needed basis.

Prerequisite(s): Open to Piano majors only.

Prerequisite(s): Open to Piano majors only.

A two-semester course which concentrates on important song repertoire, including music by German, American, English, and French composers.

Distribution Area: P, Y

A two-semester course which concentrates on important song repertoire, including music by German, American, English, and French composers.

Prerequisite(s): Advanced Accompanying (PY.450.813) required

Distribution Area: P, Y

A course to help foster fluency in the essential skill of transforming written music into sound. Includes score scanning, pattern recognition, and analysis of harmonic, rhythmic, and melodic structures in music from all periods. Required for undergraduate piano and organ majors. Also offered as an elective.

Distribution Area: P, Y

A course to help foster fluency in the essential skill of transforming written music intosound. Includes score scanning, pattern recognition, and analysis of harmonic, rhythmic,and melodic structures in music from all periods. Required for undergraduate piano andorgan majors. Also offered as an elective.

Prerequisite(s): Completion of Sightreading 1 required, PY.450.111[C]

Distribution Area: P, Y

A course designed to acquaint pianists with the listening skills, flexibility, sensitivity, knowledge of musical style, and interpretative skills required of a collaborative artist. Traditional song literature will be discussed, prepared, and performed within a class setting, with an emphasis on the poetic analysis, musicianship, sound production, and pianistic techniques required for effective collaboration. Open to all qualified keyboard students at any level, this course is required for all undergraduate piano majors.

Prerequisite(s): Must have completed Sightreading 1 & 2 (PY.450.111[C] AND PY.450.112[C])

Distribution Area: P, Y

A course designed to acquaint pianists with the listening skills, flexibility, sensitivity,knowledge of musical style, and interpretative skills required of a collaborative artist. Traditionalsong literature will be discussed, prepared, and performed within a class setting,with an emphasis on the poetic analysis, musicianship, sound production, and pianistictechniques required for effective collaboration. Open to all qualified keyboard students atany level, this course is required for all undergraduate piano majors.

Prerequisite(s): Completion of Accompanying 1 required, PY.450.213[C]

Distribution Area: P, Y

A survey of keyboard music from the early to the late Baroque, including the different national characteristics of music from England, France, Italy, and Germany through the 17th and first-half of the 18th century, and culminating in the music of J S Bach. Works will be considered from a range of perspectives, including stylistic, analytic, historical, and interpretive.

Distribution Area: P, Y

A survey of the piano music of the Classical period, with emphasis on the works of Haydn,Mozart, and Beethoven. Works will be considered from a range of perspectives, includingstylistic, analytic, historical, and interpretive.

Distribution Area: P, Y

A survey of piano music from the Romantic period. Works will be considered from a rangeof perspectives, including stylistic, analytic, historical, and interpretive.

Distribution Area: P, Y

A survey of the piano music of the 20th century, from its post-romantic roots to the present. Works will be considered from a range of perspectives, including stylistic, analytic, historical, and interpretive.

Distribution Area: P, Y

This class will be both a history of transcriptions for solo piano from the nineteenth century to the present, and a practical course in the technique and craft of making transcriptions. It will focus on four main types of transcriptions: organ music, song repertoire, orchestral reductions, and free arrangements. Students will study the great transcriptions by Liszt, Godowsky, and Rachmaninoff, as well as contemporary transcriptions by Volodos, Olaffson, O’Reilly, and others. They will also make several transcriptions of their own.

Exploration of principles, materials, and career development in the teaching of piano. Includes observation of Preparatory teachers and some supervised teaching of pre-college students. Open to majors only.

Prerequisite(s): Open to Piano majors only.

Distribution Area: P, Y

Exploration of principles, materials, and career development in the teaching of piano.Includes observation of Preparatory teachers and some supervised teaching of pre-collegestudents. Required for undergraduate piano majors and for MM Piano majors with Pedagogyemphasis, also offered as an elective. Open to majors only.

Prerequisite(s): Open to Piano majors only.;Completion of Piano Pedagogy 1 required, PY.450.667[C].

Distribution Area: P, Y

A seminar required of all doctoral students. Focus is on preparation for entering the musicprofession, including practice teaching, press kit and resume preparation, discussion of jobsearches, and topics of special interest. Offered in alternate years.

Prerequisite(s): Open to Piano majors only.

Undergraduate recital for Piano Majors.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

1st recital for GPD, AD, and DMA Piano majors. Final recital for MM Piano majors. AD students must take for S/U grade.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

2nd recital for GPD, AD, and DMA Piano majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.450.721[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

3rd recital for AD and DMA Piano majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.450.722[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

4th recital for AD Piano majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.450.723[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Concerto recital for DMA Piano majors. Must be co-enrolled in major lessons regardless of if in Residency or DIP.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Chamber recital for DMA Piano majors. May be taken either during Residency or DIP period. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Lecture recital for DMA Piano majors. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Prerequisite(s): Open to Piano majors only.

A study of selected organ literature from all periods within the context of history, instrument design, and performance practice.

Prerequisite(s): Open to Organ majors only.

Distribution Area: P, Y

A study of selected organ literature from all periods within the context of history, instrument design, and performance practice.

Prerequisite(s): Open to Organ majors only.;Completion of Organ Literature 1 required, PY.460.423[C].

Distribution Area: P, Y

This course is a survey of liturgics, working with the lectionary, choral literature for the average choir, conducting styles and interpretation, hymnody, and related subjects. The fall semester focuses primarily on liturgics, lectionary and hymnody.

Prerequisite(s): Open to Organ majors only. Non-majors interested in taking the course should send an email to peabodyregistrar@jhu.edu with instructor permission attached.

Distribution Area: P, Y

This course is a survey of liturgics, working with the lectionary, choral literature for the average choir, conducting styles and interpretation, hymnody, and related subjects. The spring semester focuses primarily on conducting, conducting from the console, choral literature, anthem accompaniment, children’s choir techniques and repertoire, handbell techniques and repertoire, service planning, practical skills for managing a church music program, and forming a personal philosophy of church music.

Prerequisite(s): Open to Organ majors only. Non-majors interested in taking the course should send an email to peabodyregistrar@jhu.edu with instructor permission attached.;Completion of Resources for Contemporary Church Musicians 1 required, PY.460.425[C].

Distribution Area: P, Y

Open to everyone with basic keyboard proficiency, this introductory course in service playing will cover organ technique, registration, hymn playing, and accessible literature.

Distribution Area: P, Y

Open to everyone with basic keyboard proficiency, this introductory course in service playing will cover organ technique, registration, hymn playing, and accessible literature.

Prerequisite(s): Completion of Organ for Non-Majors 1 required, PY.460.510[C].

Distribution Area: P, Y

Classes in performance covering the repertoire and stylistic concepts from all periods of organ literature. A yearly requirement of organ majors.

Prerequisite(s): Open to Organ majors only.

Classes in performance covering the repertoire and stylistic concepts from all periods of organ literature. Open to majors only.

Prerequisite(s): Open to Organ majors only.

Undergraduate recital for Organ Majors.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

1st recital for GPD, AD, and DMA Organ majors. Final recital for MM Organ majors. AD students must take for S/U grade.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

2nd recital for GPD, AD, and DMA Organ majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.460.721[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

3rd recital for AD and DMA Organ majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.460.722[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

4th recital for AD Organ majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.460.723[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Concerto recital for DMA Organ majors. Must be co-enrolled in major lessons regardless of if in Residency or DIP.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Chamber recital for DMA Organ majors. May be taken either during Residency or DIP period. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Lecture recital for DMA Organ majors. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

A study of the literature for the guitar from the Renaissance to the present. Offered in alternate years.

Prerequisite(s): Open to Guitar majors only.

Distribution Area: P, Y

A study of the literature for the guitar from the Renaissance to the present.

Prerequisite(s): Open to Guitar majors only.;Completion of Guitar Literature 1 (UG) required, PY.470.431[C].

Distribution Area: P, Y

The application of theoretical skills to the guitar, including harmony, rhythm, transposition, and analysis.

Prerequisite(s): Open to Guitar majors only.

Distribution Area: P, Y

The application of theoretical skills to the guitar, including harmony, rhythm, transposition, and analysis.

Prerequisite(s): Open to Guitar majors only.;Completion of Guitar Skills 1 required, PY.470.585[C]

Distribution Area: P, Y

A study of guitar instructional principles and procedures for their application. Graduate students enrolled in this course will be required to do more advanced and specialized research and documentation.

Prerequisite(s): Open to Guitar majors only.

Distribution Area: P, Y

A study of guitar instructional principles and procedures for their application.

Prerequisite(s): Open to Guitar majors only.;Completion of Guitar Pedagogy 1 required, PY.470.637[C].

Distribution Area: P, Y

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Undergraduate Senior recital for Guitar Majors.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

1st recital for GPD, AD, and DMA Guitar majors. Final recital for MM Guitar majors. AD students must take for S/U grade.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

2nd recital for GPD, AD, and DMA Guitar majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.470.721[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

3rd recital for AD and DMA Guitar majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.470.722[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

4th recital for AD Guitar majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.470.723[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Concerto recital for DMA Guitar majors. Must be co-enrolled in major lessons regardless of if in Residency or DIP.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Chamber recital for DMA Guitar majors. May be taken either during Residency or DIP period. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Lecture recital for DMA Guitar majors. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

An overview of music teaching as a profession, including an examination of contemporaryphilosophical and pedagogical trends in music education as well as roles and attitudes ofthe elementary and secondary school music teacher.

Prerequisite(s): Open to Music Education majors only.

Distribution Area: P, Y

This course is intended for all non-vocal emphasis, music education majors. This course will cover the basics of learning how to breathe and phonate correctly while singing and speaking. Additionally, students will learn the anatomy of the vocal mechanism, how the body works to produce sound, and vocal faults frequently experienced by teachers. By the end of this course, students will be equipped with the knowledge of how to breathe, phonate, and resonate correctly to better participate in degree-required classes, prepare for their practicums, and inform their teaching practices.

Prerequisite(s): Open to Music Education majors only

Study of the trumpet, trombone, horn, and tuba with an emphasis on methods and materialsfor the instruction of beginners in the public school setting.

Prerequisite(s): Open to Music Education majors only.

Distribution Area: P, Y

Study of the clarinet, flute, oboe, bassoon, and saxophone with emphasis on methods and materials for instruction of beginners in the public school setting.

Prerequisite(s): Open to Music Education majors only.

Distribution Area: P, Y

Study of the trumpet, clarinet, and violin to familiarize guitarists, vocalists, and pianists with fundamental concepts of brass, woodwind, and stringed instrument playing. Also includes elementary pedagogy related to those instruments.

Prerequisite(s): Open to Music Education majors only.

Distribution Area: P, Y

Study of the percussion instruments. Emphasis is on playing techniques, percussion notation,and diagnosis of student problems. Also included are basic maintenance and repairprocedures.

Prerequisite(s): Open to Music Education majors only.

Distribution Area: P, Y

Development of conducting skills and rehearsal strategies appropriate to the secondary school choir. Also includes methods of teaching singing in the large ensemble setting.

Prerequisite(s): Open to Music Education majors only.

Distribution Area: P, Y

Development of conducting skills and rehearsal strategies appropriate to the secondaryschool band/orchestra. Also includes methods of teaching wind, string, and percussionplaying in the large ensemble setting. Open to majors only.

Prerequisite(s): Open to Music Education majors only.

Distribution Area: P, Y

An eclectic approach to teaching vocal and general music in elementary and middle school. Includes organization of instruction, selection of appropriate materials, theories of learning, childhood development, and basic guitar instruction. Observation and guided teaching in local schools are required. Open to majors only.

Prerequisite(s): Open to Music Education majors only.

Distribution Area: P, Y

Progressive Methods: Instrumental Music is designed to provide students with opportunities to develop and refine instrumental music teaching skills, strategies, and progressive techniques through teaching experiences in remote and/or in-person classroom and rehearsal settings in the public schools. Educational Psychology Content is now covered in Literacy in the Content Areas I and II. Along with best practices in pedagogy for specific instruments and voice, the weekly practicum experiences will include knowledge and practical application of learning theories, classroom management strategies and development of lesson plans with integrated literacy in the content area knowledge. The Guitar Skills component emphasizes strategies for group class instruction at the secondary level while continuing to develop guitar skills for effective modeling.

Prerequisite(s): Open to Music Education majors only.

Distribution Area: P, Y

A performance-based approach to teaching vocal and general music in secondary schoolsand continued study of an eclectic approach to teaching general music. Includes principlesof secondary education, organization of instruction, selection of appropriate materials, theoriesof learning, and adolescent development. Observation and guided teaching in localschools included. Open to majors only.

Prerequisite(s): Open to Music Education majors only.

Distribution Area: P, Y

Study of the violin, viola, cello, and double bass with emphasis on methods and materials for instruction of beginners in the public school setting.

Prerequisite(s): Open to Music Education majors only.

Distribution Area: P, Y

Development of conducting skills and rehearsal strategies appropriate to the secondary school choir. Also includes methods of teaching singing in the large ensemble setting.

Prerequisite(s): Open to Music Education majors only.

Distribution Area: P, Y

Development of conducting skills and rehearsal strategies appropriate to the secondaryschool band/orchestra. Also includes methods of teaching wind, string, and percussionplaying in the large ensemble setting. Open to majors only.

Prerequisite(s): Open to Music Education majors only.;Completion of previous course required, PY.510.238[C].

Distribution Area: P, Y

Supervised student teaching in public schools daily for one semester (8 weeks in elementary, 7 weeks in secondary).

Prerequisite(s): Open to Music Education majors only.

An overview of inclusive teaching strategies for music educators centered on universal design, accessibility, and intersectionality, framed through a disability justice lens.

Prerequisite(s): Open to Music Education majors only.

Distribution Area: P, Y

Licensure and Capstone Seminar guides students through the process of completing the requirements to be a licensed music educator in Maryland and understanding its reciprocity in other locales. It also aids students in preparing for the employment search in music education by helping them create and polish a Music Education Capstone portfolio.

Prerequisite(s): Open to Music Education majors only.

Concomitant with 411, the seminar is devoted to discussion of problems related to teaching music in the schools. Special emphasis is on practices in the secondary school.

Prerequisite(s): Open to Music Education majors only.

This course introduces major learning theories, such as behaviorism, social cognitivism, information processing, cognitive learning, and constructivism. It explores the application of selected theories to music in elementary and secondary schools, as well as private lesson environments. It covers motivation, reinforcement, and self-regulation strategies that support constructive behavior change in the music classroom. Students begin to identify their philosophy of music teaching and learning in various contexts. Students produce lesson plans that apply various learning theories appropriate for music instruction. 2.0 credits

Distribution Area: P, Y

This core graduate course prepares students to design and present an original thesis proposal in music education. Students learn to identify researchable topics, engage with relevant literature, and develop a clear methodological framework. Through weekly assignments, annotated bibliography development, and a final multimodal presentation, students gain essential skills in independent inquiry and proposal writing. The course culminates in a thesis proposal package that can be shared with potential committee members for feedback and future development.

Prerequisite(s): Open to Music Education majors only.

A seminar on historical and philosophical perspectives of music education. Includes the study of the history of music education in the United States and various philosophies of music education. Offered in alternate years.

Prerequisite(s): Open to Music Education majors only.

Distribution Area: P, Y

Supervision and Curriculum Development is designed to examine the role of the music supervisor or department coordinator in the public schools including issues concerning curriculum, class scheduling, staff supervision/evaluation/improvement of instruction, budgets, public relations and research problems in planning and executing a modern program. The course includes the development of curriculum guides and materials with specific focus on individual areas of interest.

Prerequisite(s): Open to Music Education majors only.

Students enrolled in Music Education Independent Study are interested in a Music Education topic, skill development, or specific area of research that is not currently offered as Peabody course. Each student is expected to share the area of interest with the instructor and develop a set of objectives that will guide their work during the semester. The instructor will help the student delineate the topic and provide feedback and guidance, as needed. The Method of Assessment for your independent work will be established early in the semester. Completion of the project or paper by Week 12 of the semester will allow adequate time for feedback and opportunity for the student to revise for an improved grade, if desired.

Prerequisite(s): Open to Music Education majors only.

Distribution Area: P, Y

Observation and guided teaching in a variety of settings, designed to enhance and expand the teaching skills of the practicing educator. Includes individualized video-taping of teaching demonstrations and follow-up conferences. Practicum experiences are arranged according to student interests and needs and may include teaching and supervisory internships.

Prerequisite(s): Open to Music Education majors only.

Additional research for the Music Education thesis.

Prerequisite(s): Music Education majors only.

The internship is intended to provide a one-year studio teaching experience during which students are expected to demonstrate the ability to present well-planned and engaging classes and lessons. Teaching Videos submitted in the Fall and Spring semester will be viewed by the intern’s pedagogy advisory committee for comments and suggestions for improvement. The primary focus is to further develop teaching skill in a studio setting. Open to Pedagogy majors only.

Prerequisite(s): Open to Pedagogy majors only.

The seminar is intended to support the Pedagogy Internship and provide a forum for the following activities and discussion topics: development of studio policies, creating a curriculum vitae/teaching resume from current performance resume, sharing of successful teaching experiences, discussion of recordkeeping systems, the business of teaching music, motivational techniques for students with learning disabilities and/or special needs, and the importance of the parent and parent-teacher relationship. Open to Pedagogy majors only.

Prerequisite(s): Open to Pedagogy majors only.

Guidance in professional portfolio development. The result will be a professional portfolio which is an organized collection of materials which demonstrate the intern’s educational philosophy, knowledge of teaching materials, experience in teaching, documents for the job search/application process, and professional references. Audio and video recordings of teaching and performances will be retained for both reflection and demonstration of current teaching skill and musicianship. In addition, students will discuss employment opportunities, practice answering questions frequently used in the interview process and discuss how to effectively use their portfolio to gain a position as a studio instructor. Open to Pedagogy majors only.

Prerequisite(s): Open to Pedagogy majors only.

Undergraduate recital for Voice Majors.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

1st recital for GPD, AD, and DMA Voice majors. Final recital for MM Voice majors. AD students must take for S/U grade.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

2nd recital for GPD, AD, and DMA Voice majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.530.721[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

3rd recital for AD and DMA Voice majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.530.722[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

4th recital for AD Voice majors. AD students must take for S/U grade.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.530.723[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Concerto recital for DMA Voice majors. Must be co-enrolled in major lessons regardless of if in Residency or DIP.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C].

Chamber recital for DMA Voice majors. May be taken either during Residency or DIP period. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

Lecture recital for DMA Voice majors. Co-registration in major lessons not required (please see DMA handbook for further guidelines).

Prerequisite(s): Majors only

This course prepares students to sing artistically in Italian through a combination of dictionstudy, text translation, and performance. Prerequisite: minimum one semester of collegestudy of Italian language or permission of instructor.

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

A study of Russian vocal music, including analysis and performance of selected works.

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

A study of selected works in opera from the 17th century to present, with emphasis on compositional styles and traditions of performance. Offered in alternate years.

Distribution Area: P, Y

A study of the International Phonetic Alphabet and the English language, with particular attention to American English, its unique sounds and their execution in singing.

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

A thorough examination of the phonemic/phonetic system of German pronunciation and its application to singing in that language. The course is designed to give students not only the professional tools to analyze the phonetic problems in German texts (and to transcribe those solutions with the aid of IPA), but also the ability to hear for themselves how those solutions can be applied. Special emphasis is placed on Bühnenaussprach/Hochlautung, noting the differences between speaking and singing in that language, and the resulting choices that the student will need to make in achieving a good and flexible singing pronunciation. The course emphasizes speaking and then singing excerpts from the German vocal repertoire from opera, oratorio, and Lieder.

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

A thorough examination of Polish pronunciation for the stage and the IPA transcription of the language. Students will learn the sounds of Polish, along with essential information on relevant aspects of performing in this language. Students will master multiple aspects of singing in Polish, such as nasal vowels, double consonants, and the infamous consonant clusters. The course is designed to also provide singers with resources and suggestions of Polish vocal repertoire.

Prerequisite(s): Voice majors only

Distribution Area: P, Y

A study of French vocal music, its poetry and interpretation, with attention to diction (using the International Phonetic Alphabet) and grammar, including analysis and performance of selected works.

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

Survey of Italian Vocal Literature and in-class singing to learn musical styles of this literature.

Survey of German Vocal Literature and in-class singing to learn musical styles of this literature.

Survey of French Vocal Literature and in-class singing to learn musical styles of this literature.

This two-semester course is an introduction and review of the International Phonetic Alphabet and its application in writing, speaking and singing English, French, German and Italian. Emphasis will be placed on the study of the IPA and its application in each of the four languages. Required for graduate voice students who do not pass the Diction Placement Exam.

Prerequisite(s): Open to Voice majors only.

This two-semester course is an introduction and review of the International Phonetic Alphabet and its application in writing, speaking and singing English, French, German and Italian. Emphasis will be placed on the study of the IPA and its application in each of the four languages. Required for graduate voice students who do not pass the Diction Placement Exam.

Prerequisite(s): Open to Voice majors only.;Completion of Graduate Diction Review 1 required, PY.530.545[C].

A survey of English and Italian song literature from the Renaissance to Modern day, applyingthe International Phonetic Alphabet (IPA) to specific repertoire. Prerequisite: EnglishDiction and Italian Diction.

Prerequisite(s): Undergraduates need to have completed English and Italian Diction in order to enroll, PY.530.469[C] and PY.530.475[C].;Open to Voice majors only.

Distribution Area: P, Y

A study of selected vocal works and styles in French and German from the 17th century tothe present, with emphasis on compositional trends, traditions of performance, and exposureto a wide variety of literature from both cultures and languages. Prerequisite: GermanDiction and French Diction.

Prerequisite(s): Undergraduates need to have completed German and French Diction in order to enroll, PY.530.477[C] and PY.530.483[C].;Open to Voice majors only.

Distribution Area: P, Y

In this class, students are guided through every facet of learning and preparing an operatic role to professional standards. We will address issues like organizing your score, time management, and learning strategies as needed. Eventually, meetings will include intensive role-specific training, including: language study (translation and diction), score and source material study, how to work effectively with a vocal coach, conductor, and stage director, as well as preparing for professional auditions. There will be a special focus on recitative preparation and performance in the first half of the semester, and there will also be a segment on recital and concert programming. Discussions will include how you go about choosing the right repertoire, including contemporary material, and how you know when you are ready to go out an audition for both professional companies and music organizations, as well as YAP's.

Prerequisite(s): Open to voice majors only.

Distribution Area: P, Y

An introduction to the performance of solo vocal repertoire by J. S. Bach. Singers will study and present representative selections from the St. Matthew Passion, St. John Passion B Minor Mass, Magnificat, Christmas Oratorio, and selected cantatas. The elements of style will be addressed, including the rhetoric of Bach recitative. Cultural and historical context will also be examined.

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

Analysis and performance of selected works from the American musical theater, beginning with Jerome Kern and continuing to present-day examples. Offered every spring semester.

Prerequisite(s): Undergraduates must have completed their 209 jury in order to enroll in this class.;Open to Voice majors only.

Distribution Area: P, Y

A study of the music and drama of five principle operas. Offered in alternate years.

Distribution Area: P, Y

Distribution Area: P, Y

An in depth study of French vocal music with an emphasis on style and interpretation, as well as attention to diction (reviewing the International Phonetic Alphabet) and grammar, including analysis and performance of selected works.

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

This seminar critically examines the history, nature, and trajectory of art song by African American composers. As such, we will understand that art song by African American composers is significant to the genre of art song as an entity. Using a Critical Race Theory Lens we will investigate the simultaneity race, gender, sexuality, and class oppression as expressed in musical values and the reception history of these works. Students will be required to musically prepare songs, perform them in class, and create short presentations about relevant stylistic elements of the song and information about the composer.

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

A class participation course that includes an introduction to various voice teaching methods and their respective approaches to posture and breathing, registration, resonation, coordination, interpretation, and vocal health; an examination of the anatomy and function of the vocal mechanism; student teaching; teacher observation; repertoire and recital planning. Required for the MM in Voice with Pedagogy Emphasis and the DMA in Voice, Option C; an elective for seniors and other graduate students.

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

This semester of vocal pedagogy will be continuation of the introduction of relevant content through in-house and guest lecturers. Elements critical to an effective teaching studio will also be covered. Stimulating class discussion will be a vital part of the students’ understanding of class content. Reading assignments accompany each class.

Prerequisite(s): Open to Voice majors only.;Completion of previous course required, PY.530.683[C].

Distribution Area: P, Y

Participants in this performance seminar will prepare and present representative oratorio repertoire from the 18th century to the present. Students will acquire an understanding of the breadth of styles in this body of repertoire and will complete the course with a list of works of practical value for themselves in the future. The term “oratorio” will be considered broadly, and may include symphonies with voice (e.g. Beethoven 9 and Mahler 2 & 4) but not concert works for solo voice (e.g. Mahler Des Knaben Wunderhorn and Ravel Shéhérezade).

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

A performance practice course including score reading, definitions of the technical language of avant garde music, and contemporary vocal techniques. Performance is optional. Offered in alternate years.

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

A survey of contemporary vocal literature and notational practices, including discussion oftechniques for learning complex music and coaching of selected repertoire. Students willpresent on topics, techniques, and repertoire. A course for singers, pianists, composers,conductors and others.A continuation of the fall semester. Prerequisite: PY.530.691 or permission of instructor.

Prerequisite(s): Open to Voice majors only.;Completion of previous course needed, PY.530.691[C].

Distribution Area: P, Y

This course is designed to present students with analysis, preparation, and performance of the poetry and music found in German Lieder. Through detailed study of poetry and music, we will trace the development of German song from it’s humble origins, to the great song cycles of Schubert, Schumann, Wolf, Mahler, and beyond. Attention will be paid to appropriate diction, style, and practical performance of the German vocal literature.

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

An approach to dramatic characterization through the development of the actor’s imagination and expressive range, with special emphasis on the ensemble and projection techniques of the lyric stage.

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

Develops physical awareness, movement skills, and integration of musical and spatial concepts. Includes introductory dance technique, vocabulary and patterns. Active studies in Dalcroze eurhythmics, choreography, characterization and styles provide further abilities useful in opera.

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

Graduate Acting students will learn how to decode the important information in each script, libretto, and score in order to translate it into vivid performances. Art (and therefore acting) may be subjective, but everyone can cultivate the skills required to become a better singer-actor. The aim of this class is to empower graduate students to make strong artistic choices by demystifying character, style, and rhetoric.

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

Individual and group work focusing on language, diction, and the vocal line as it relates to instrumentation and musical texture. Students will explore composers’ stylistic, linguistic, and musical choices as the basis for crafting informed interpretations of operatic works in various styles, including 21st-century repertoire. Focus may include both individual arias and role preparation. This course also includes a career overview that encompasses auditions, management, singing in Europe, and professional expectations and standards.

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

A course to develop new operatic works by Peabody composers in close collaboration with vocalists. Study includes investigations of vocal function and use; an overview of select contemporary operatic literature and notational practices; exercises in dramatic scene writing for solo; collaborative libretto development; scene improvisation; and discussion of best practices for collaboration. Up to five composers from the fall semester will be chosen to write a 15-minute scene or one-act opera for full production in the spring. The course is available to composers, singers, and instrumentalists at the junior level and above. **For composers, participation in the fall semester is prerequisite to the spring.**

Distribution Area: P, Y

A course to develop new operatic works by Peabody composers in close collaboration with vocalists. This course is for the participating performers. Singers are enrolled via opera diagnostic auditions at the beginning of the year. Instrumentalists are also invited to participate for credit.

Distribution Area: P, Y

A course to develop new operatic works by Peabody composers in close collaboration with vocalists. Up to five composers from the fall semester will be chosen to write a 15-minute scene or one-act opera for full production in this course. Composer participation in the fall semester is prerequisite to the spring. The course is open to composers at the senior-year level or above. Junior-year composers may be enrolled by permission.

An introduction to dramatic characterization as it relates to and is practiced on the Opera stage.

Prerequisite(s): Open to Voice majors only.

Distribution Area: P, Y

Graduate Acting students will learn how to decode the important information in each script, libretto, and score in order to translate it into vivid performances. Art (and therefore acting) may be subjective, but everyone can cultivate the skills required to become a better singer-actor. The aim of this class is to empower graduate students to make strong artistic choices by demystifying character, style, and rhetoric.

Distribution Area: P, Y

A course designed to introduce the beginning Recording Arts student to components of the recording process including the physical aspects of sound, human perception of sound, the mechanisms of commonly used microphones, and stereophonic microphone techniques. Open to Recording Arts majors. Non-majors who wish to enroll should email the instructor's permission to peabodyregistrar@jhu.edu.

Prerequisite(s): Open to Recording Arts majors. Non-majors who wish to enroll should email the instructor's permission to peabodyregistrar@jhu.edu.

Distribution Area: P, Y

A continuation of Recording 1a, this semester focuses on analog and digital signal flow, the operation of recording consoles, and recording and editing within a digital audio workstation. Prerequisite: Completion of Recording 1a with a B- or higher is required, PY.550.111. Open to Recording Arts majors only or with permission of the instructor.

Prerequisite(s): Open to Recording Arts majors only or with permission of the instructor.;Completion of Recording 1a with a B- or higher is required, PY.550.111[C].

Distribution Area: P, Y

Builds on the material from Recording 1a and 1b providing students with a deeper understanding of the technology and procedures involved in the recording process. Prepares students for the technique-focused courses of Recording 3 and Recording 4. Prerequisite: Completion of Recording 1b with a B- or higher is required, PY.550.112. Open to Recording Arts majors only or with permission of the instructor.

Prerequisite(s): Open to Recording Arts majors only or with permission of the instructor.;Completion of Recording 1b with a B- or higher is required, PY.550.112[C].

Distribution Area: P, Y

Continuation of Recording 2a. providing students with an in-depth exploration of the tools and technology associated with the recording process include signal flow, analog and digital theory, signal processing, and recording systems. Prerequisite: Completion of Recording 2a with a B- or higher is required, PY.550.211. Open to Recording Arts majors only or with permission of the instructor. .

Prerequisite(s): Open to Recording Arts majors only or with permission of the instructor.;Completion of Recording 2a with a B- or higher is required, PY.550.211C].

Distribution Area: P, Y

An exploration of techniques and aesthetics associated with recording classical music ensembles. Many classes will involve a recording session with a guest chamber ensemble performing in one of the school's concert halls or Studio A. Prerequisite: Completion of Recording 2b with a B- or higher is required, PY.550.212. Open to Recording Arts majors only or with permission of the instructor.

Prerequisite(s): Open to Recording Arts majors only or with permission of the instructor.;Completion of Recording 2b with a B- or higher is required, PY.550.212[C].

Distribution Area: P, Y

A continuation of Recording 3a, this semester focuses on techniques associated with recording Jazz ensembles in the studio. Additional topics include headphone monitoring, immersive/surround recording and mixing. Prerequisite: Completion of Recording 3a with a B- or higher is required, PY.550.312. Open to Recording Arts majors only or with permission of the instructor. .

Prerequisite(s): Open to Recording Arts majors only or with permission of the instructor.;Completion of Recording 3a with a B- or higher is required, PY.550.311[C].

Distribution Area: P, Y

A focus on recording techniques associated with modern music styles such as rock and pop. Advanced use of digital audio workstations for multitrack recording, mixing, and overdubbing, and operation of the studio recording console. Prerequisite: Completion of Recording 3b with a B- or higher is required, PY.550.312. Open to Recording Arts majors only or with permission of the instructor.

Prerequisite(s): Open to Recording Arts majors only or with permission of the instructor.;Completion of Recording 3b with a B- or higher is required, PY.550.312[C].

Distribution Area: P, Y

A continuation of Recording 4a, focuses on recording techniques associated with modern music styles such as rock and pop. Advanced use of digital audio workstations for multitrack recording, mixing, and overdubbing, and operation of the studio recording console. Prerequisite: Completion of Recording 4a with a B- or higher is required, PY.550.411. Open to Recording Arts majors only or with permission of the instructor.

Prerequisite(s): Open to Recording Arts majors only or with permission of the instructor.;Completion of Recording 4a with a B- or higher is required, PY.550.411[C].

Distribution Area: P, Y

Undergraduate students work in supervised professional positions in which they can apply the knowledge and expertise developed during their course of study in Recording Arts and Sciences. Prior approval of the desired internship and clear expectations must be documented with the instructor prior to its start. Prerequisite: Completion of Recording 3b with a B- or higher is required, PY.550.312. Open to Recording Arts majors only or with permission of the instructor. .

Prerequisite(s): Open to Recording Arts majors only.;Completion of Recording 3b with a B- or higher is required, PY.550.312.

Theory and practical application of the tools and techniques used in professional audio recording in all common musical styles. Topics include a review of studio acoustics, human perception of sound, microphone theory and application, signal processing, recording, mixing and mastering. Advanced techniques in Classical, Jazz and Rock music recording, and other styles as time permits. Open to incoming students in the Recording and Production track of the Master of Arts in Audio Sciences. Open to Recording Arts majors only.

Prerequisite(s): Open to incoming students in the Recording and Production track of the Master of Arts in Audio Sciences. Open to Recording Arts majors only.

Continuation of Advanced Recording Systems 1. Additional topics include immersive/surround recording and mixing. Prerequisite: Completion of Advanced Recording Systems 1 with a B- or higher is required. Open to Recording Arts majors only. Completion of Advanced Recording Systems 1 with a B- or higher is required, PY.550.511[C].

Prerequisite(s): Open to Recording Arts majors only.;Completion of Advanced Recording Systems 1 with a B- or higher is required, PY.550.511[C].

Advanced practical training in producing and engineering recordings in a variety of musical styles at a professional level in a masterclass-like environment with an accomplished professional recording engineer. Final capstone projects will be evaluated by a panel of outside producers representing Classical, Jazz and Rock music styles and engineers who are experts in their respective field of professional audio recording, and presented at the end of the year in an open forum attended by all students in the Recording Arts and Sciences department. Open to majors only.

Prerequisite(s): Open to Recording Arts majors only.

Distribution Area: P, Y

Advanced practical training in producing and engineering recordings in a variety of musical styles at a professional level in a masterclass-like environment with an accomplished professional recording engineer. Final capstone projects will be evaluated by a panel of professional engineers representing Classical, Jazz and Rock music styles, and presented at the end of the year in an open forum attended by all students in the Recording Arts and Sciences department. Prerequisite: 550.412 Recording 4b or 550.512 Advanced Recording Systems.

Prerequisite(s): Open to Recording Arts majors only.;Completion of PY.550.412 Recording 4b or PY.550.512 Advanced Recording Systems.

Distribution Area: P, Y

A course concerned with the physics of sound as applied to properties of musical instruments, perception of musical sound, electronic music reproduction, and the spaces in which they perform. Open to majors only, others by permission of instructor. Prerequisite for Recording Arts majors: Recording 2. Prerequisite for non-Recording Arts majors: Recording for Musicians.

Prerequisite(s): Open to Recording Arts majors only, others by permission of instructor.;Completion of Recording 2b or Recording for Musicians or permission of the instructor.

Distribution Area: P, Y

This class will cover the basic fundamentals of electro-acoustics subdivided into roughly four units: fundamentals and transducer theory, loudspeakers, headphones and microphones. Prerequisite for Recording Majors: Physics 2.

Distribution Area: P, Y

The course focuses on the basics of the physiological and psychological aspects of hearing with applications to audio and sound systems, architectural acoustics, and musical acoustics. Topics include auditory physiology of the outer and inner ear, masking, critical bands, loudness, duration, binaural hearing, localization, and pitch. Prerequisite: Recording 2b or acceptance to MA Audio Sciences. Open to majors only, others by permission of instructor.

Prerequisite(s): Open to Recording Arts majors only, others by permission of instructor.

Distribution Area: P, Y

The theory and application of objective acoustical and audio measurements are studied. Measurement techniques used in the evaluation of both physical spaces and electronic equipment are presented. Topics include measurement microphones, sound level meters, noise sources, spectrum and FFT analysis, frequency analysis, reverberation, speech intelligibility, transfer functions, swept sine techniques, audio power measurements, ADC and DAC linearity, harmonic distortion and mixed signal testing.

Prerequisite(s): Completion of Architectural Acoustics 1 required, PY.550.624[C].

Distribution Area: P, Y

This course explores the business side of game audio and the creative and technical process of designing and integrating sound design for video games. This section is designed for advanced Composition, Computer Music, and Recording Arts students. Students from other major areas with sufficient experience in music technology may seek approval from the department chair to enroll.

Prerequisite(s): Completion of Recording 3b, Advanced Recording Systems 1, or Introduction to Programming required, PY.550.511[C], PY.550.312[C], or PY.350.466[C]. Instructor permission may also be granted instead, and should be emailed to peabodyregistrar@jhu.edu in order to enroll.

Distribution Area: P, Y

This course is designed to integrate many of the audio and acoustics concepts discussed in the Master of Arts: Concentration in Recording and Production degree curriculum into an exploration of the electronics and acoustics fundamental to audio engineering. Topics include Current, Voltage, and Power in Audio systems; Reactive Circuit Elements; AC Circuits; Semiconductor Devices; Integrated Circuits; Transistor Based Amplifier Circuits; Power Supply Technology; Embedded Systems, and Audio System Engineering. Additional discussion of Architectural Acoustic Fundamentals, including Large Hall and Small room acoustical design. Co- and Pre-requisites: Introduction to Electrical and Computer Engineering (undergraduate) and Advanced Recording Systems (graduate), or permission of the instructor.

Distribution Area: P, Y

An introduction to the world of consumer audio electronics. The playback chain: What it is, how it works, and how it sounds. Lectures and outside-of-class projects will include a topology analysis of and critical listening to the following audio components and technologies: preamplifiers; power amplifiers; loudspeakers; disc players; DACs; music servers; computer audio; turntables, cartridges, tonearms, phono preamplifiers for vinyl disc playback; broadcast and internet radio; home theater configuration; interconnects; receivers; lossy and lossless codecs; multichannel audio and bass management; specifications and measurement; wireless audio profiles and codecs; network audio; active products and DSP; and headphones and headphone amplifiers. At the end of the course students will have a deep understanding of these topics and the ability to aurally discern the musical impact various design topologies have on the playback of recorded sound. Prerequisite: Audio Science and Technology, PY.550.610[C]. Co- and Pre-requisites: Recording 3b (undergraduate) and Advanced Recording Systems (graduate), or permission of the instructor.

Prerequisite(s): Completion of Audio Science and Technology required, PY.550.610[C].

Distribution Area: P, Y

This class covers the fundamentals of architectural acoustics design. Topics will include: Plane and spherical waves; acoustic impedance and sound energy density; reflection, refraction, and diffusion; sound absorption; acoustic materials; psychoacoustic aspects; room modes; statistical versus geometric acoustics; reverberation theory; coupled-space acoustics; behavior of sound in rooms; and large versus small room acoustics. Open to MA Acoustics and Recording Arts (BM and MA) students, or by permission of instructor. Area P, Y.

Distribution Area: P, Y

The objective of this class is to provide students with an overview of commercial audiovisual systems design. This will include both the considerations required to design audiovisual systems and all the ancillary considerations required to properly integrate these systems with architecture, electrical, mechanical, structural, and IT systems.

Prerequisite(s): Completion of Electroacoustics required, PY.550.516[C]. Instructor permission may also be granted instead, and should be emailed to peabodyregistrar@jhu.edu in order to enroll.

Distribution Area: P, Y

A continuation of Architectural Acoustics (550 • 624) Topics will include: perceptual aspects of noise control; sound power, noise control criteria and standards; hearing loss prevention; environmental acoustics; airborne sound isolation (transmission loss theory, walls, floors, doors, and windows) structure-borne sound insulation (impact insulation theory and floors); vibration isolation (vibration isolators and design); heating, ventilation, and air conditioning (HVAC) noise control; and noise control applications in buildings. Prerequisites: Architectural Acoustics, or permission of instructor.

Prerequisite(s): Completion of Architectural Acoustics 1 required, PY.550.624[C]. Instructor permission may also be granted instead, and should be emailed to peabodyregistrar@jhu.edu in order to enroll.

Distribution Area: P, Y

An introduction to background principles and the applied techniques in computer acoustic modeling for prediction and research. This may include computational models, models for physical acoustic behavior, barrier considerations, noise models for building systems and absorption models, but the core of the course will focus on geometric room acoustic prediction and auralization simulation models. The course will focus on the techniques, development, potentials, strengths and limitations of acoustic models as tools, rather than on specifically how to operate a single software platform. A deep understanding of current and relevant modeling programs used will be inherent. Open to MA Acoustics students only or by permission of the instructor. [2 Credits]

Distribution Area: P, Y

This course examines current issues and topics, specific to professional practice in acoustics, to provoke discussion and deeper understanding. Topics include ethics and professional responsibility, the landscape of the acoustics industry, design process, acoustics in society, regulation and policy, parallel industries, professional organizations, contracts, exposure, liability, project structure and documentation. Open to MA Acoustics students only. [2 credits]

This class is a continuation of content introduced in PY.550.624: Architectural Acoustics. This course focuses on analysis, design and application, expanding on established foundations and topical content in previous courses. Architectural acoustics applications for Concert Halls, Recital Halls, Spoken-word Theatre Spaces, Lecture and Classroom Spaces, Worship Spaces, Outdoor Performance Venues, Rehearsal and Practice Spaces, Recording and Production Spaces, Cinemas, Sports Venues, Restaurants and/or Office Spaces may be considered. Open to MA Acoustics students, or by permission of instructor.Prerequisite(s): Completion of PY-550-624 Architectural Acoustics 1 and completion or concurrent enrollment in PY-550-626 Noise Control.

Prerequisite(s): Must be concurrently enrolled in or completed PY.550.519 and PY.550.626;Completion of PY-550-624 Architectural Acoustics 1

Distribution Area: P, Y

This course examines current issues and topics, specific to professional practice in acoustics, to provoke discussion and deeper understanding. Topics include ethics and professional responsibility, the landscape of the acoustics industry, design process, acoustics in society, regulation and policy, parallel industries, professional organizations, contracts, exposure, liability, project structure and documentation. For second year MA Acoustics students, this course also serves as preparation for the Acoustics Design Practicum. This course will lead students in a research and discovery exercise in both broad ideation and eventually directed focus toward their Acoustics Practicum Proposal. Open to MA Acoustics students only. [2 credits]

In this course taken in the final semester of study, students act as acoustical consultants to design or analyze an existing room or sound system using the knowledge gained through prior classes. The students are responsible for complete analysis, measurements, modeling, design documentation, and presentation of the final design in class. Open to majors only.Prerequisite:Completion of Architectural Acoustics 1 PY.550.632[C] and Graduate Acoustics Seminar 2 PY-550-633[C] required. Pre- or Co-requisite with Noise Control PY-550-626[C], Acoustical/Audio Measurements PY-550-519 and Acoustical Modeling PY-550-627.

Prerequisite(s): Completion of Architectural Acoustics 1 PY.550.632[C] and Graduate Acoustics Seminar 2 PY-550-633[C] required. Pre- or Co-requisite with Noise Control PY-550-626[C], Acoustical/Audio Measurements PY-550-519 and Acoustical Modeling PY-550-627.;Open to Recording Arts and Acoustics majors only.

A comprehensive course in recording and associated technologies designed for the musician who wishes to know about the recording arts. The course is taught parallel to Basic Recording I and II but without the required mathematics and physics and is open to upper-level undergraduates and graduate students of all majors.

Distribution Area: P, Y

Designed for non-recording majors, this class offers an overview of the recording process starting with a basic understanding of the acoustics of a performance space; through the signal chain of microphones, signal processing, recording, editing, mixing, and loudspeaker and headphone monitors; to the acoustics of the monitoring environment and the human perception of sound. Additional topics include mastering a final product and distribution on CD and through online services. The completion of PY.550.651 is a prerequisite.

Prerequisite(s): PY.550.651[C]

Distribution Area: P, Y

This course is designed to provide students with a practical, experiential understanding of the principles of the Alexander Technique, a process of movement re-education, and the application of those principles to daily activities and to playing an instrument or singing. Much time will be given to the investigation of individual ways of moving. The exploration of this technique will lead students to a quality of movement informed by heightened physical and spatial awareness, improved balance, coordination and breathing, and effortless support. Students will learn how to avoid neck, back and shoulder pain, along with a means of preventing repetitive strain injuries related to playing their instruments.

Distribution Area: P, Y

This course is for students who have completed PY.123.501 and want to integrate Alexander technique more fully into their performance and practice, as well as daily life. Students who have some other experience with Alexander technique may contact the instructor. During the course, students will deepen their ability to apply the principles of the Alexander Technique to performance and practice, and to choose balanced coordination of their whole selves. Students will learn to be able to rely on their own "Alexander awareness" to access effortless support and balance, to deal with stress, and prevent strain and injury. They will also develop their authentic expression, lively presence, freedom of movement and connection with themselves, their task, and their audience.

Prerequisite(s): Students must have taken Alexander Technique

Distribution Area: P, Y

Offered at the graduate level, this course covers anatomy and movement concepts as applied to music making, with particular attention to those structures at risk for repetitive trauma. This three-credit, 14-week online course is asynchronous, so you can work through the weekly course material when it’s convenient for you. Through original and curated videos, assigned reading, participation in discussion boards, and individual assignments, you will learn how musicians use their bodies, exploring the skeletal, muscular, and nervous systems as well as posture and breathing, and analyzing movements that can cause stress and injury.

Distribution Area: P, Y

Explores instrumental musicians’ playing-related disorders. Topics include an overview of risk factors and injury mechanisms, principles of treatment, medical examinations, and specific injuries and treatments by body region. Students receive information from the expert perspectives of physicians, therapists, and musicians and complete a practical capstone project designed to apply medical and therapeutic knowledge to their work in practice and performance.

Distribution Area: P, Y

Three-credit course explores primary and secondary prevention strategies within a framework of prevention, preparedness, response, and recovery. Topics include the importance of exercise, sleep and nutrition; how to plan playing-specific mind and body training and functional conditioning; warm-up, cool-down, unloading, recovery, and regeneration activities as key components of performance training; exposure control to repetition and force through efficient motor learning strategies; and integration of retraining programs in rehabilitation to prevent reinjury.

Distribution Area: P, Y

Jazz Seminar is a course designed to cover general performance practices, topics, repertoire and varying styles within the genre.

Prerequisite(s): Open to Jazz majors only.

Jazz Seminar is a course designed to cover general performance practices, topics, repertoire and varying styles within the genre.

Prerequisite(s): Open to Jazz majors only.

Designed to establish and reinforce the fundaments of chord scales, harmonic and melodic functions, ear-training, and writing standard forms in jazz. The course also explores basic jazz theory lingo, terms, and nomenclature, as well as transcription, basic reharmonization techniques, and a brief introduction to composition devices of the 20th century. Prepares students for Jazz Improvisation 1 (570.561) and Jazz Keyboard Studies (570.259-260).

Prerequisite(s): Open to Jazz majors only.

Distribution Area: P, Y

The second part of Jazz Th. Fund. focuses extensively on analysis and composition of standard and through-composed forms using concepts studied in the 1stpart of the course. It also studies the application of 20th century composition devises, as well as basic re-harmonization techniques, modal writing, and an introduction to standard voicings. Prepares students for Jazz Improvisation, Jazz Theory/Keyboard Lab, Arranging.

Prerequisite(s): Open to Jazz majors only.;Completion of Jazz Theory Fundamentals 1 required, PY.570.127[C].

Distribution Area: P, Y

The introduction of the fundamental grammar, vocabulary, and structure of the jazz idiom through the study of its notational conventions, melodic and harmonic functions, and their application on the piano. Prerequisites: Jazz Fundamentals (570.127–128) or placement by instructor.

Prerequisite(s): Open to Jazz majors only.

Distribution Area: P, Y

The introduction of the fundamental grammar, vocabulary, and structure of the jazz idiomthrough the study of its notational conventions, melodic and harmonic functions, and theirapplication on the piano. Prerequisites: Jazz Fundamentals (570.127–128) or placement byinstructor

Prerequisite(s): Open to Jazz majors only.;Completion of Jazz Keyboard Studies 1 required, PY.570.259[C].

Distribution Area: P, Y

A continuation of the techniques and harmonic concepts studied in Jazz Keyboard Studies 1-2. Prerequisites: Jazz Fundamentals (570.127–128) or placement by instructor

Prerequisite(s): Open to Jazz majors only.

Distribution Area: P, Y

A continuation of the techniques and harmonic concepts studied in Jazz Keyboard Studies 1-2. Prerequisites: Jazz Fundamentals (570.127–128) or placement by instructor.

Prerequisite(s): Open to Jazz majors only.;Completion of Advanced Jazz Harmony 1 required, PY.570.359[C].

Distribution Area: P, Y

A beginning study of the language, techniques, and disciplines employed in arranging music for various jazz ensembles, including orchestration, notation, rhythmic embellishment, melodic ornamentation, chord substitution, and harmonization techniques. . Prerequisites: Jazz Fundamentals (570.127–128) or placement by instructor.

Prerequisite(s): Open to Jazz majors only.

Distribution Area: P, Y

A beginning study of the language, techniques, and disciplines employed in arrangingmusic for various jazz ensembles, including orchestration, notation, rhythmic embellishment,melodic ornamentation, chord substitution, and harmonization techniques. . Prerequisites:Jazz Fundamentals (570.127–128) or placement by instructor.

Prerequisite(s): Open to Jazz majors only.;Completion of Jazz Arranging 1 required, PY.570.361[C].

Distribution Area: P, Y

"Sight Reading" is a jazz course that is aimed to help the student better their sight reading, starting at the beginner level and working up to advanced material. Students will read jazz transcriptions from, along with the actual recording to play towards, jazz legends such as Miles Davis, Charlie Parker, Cannonball Adderly, Sonny Rollins and John Coltrane. Upon completion of this course, students will have a better grasp on sight reading material at a much rapid pace."

Practical approaches to composition for jazz forces in the jazz idiom, with an emphasis on analysis of standards and projects for small forces.

Prerequisite(s): Open to Jazz majors only.

Distribution Area: P, Y

Analysis of advanced jazz repertoire with an emphasis on the techniques and practices required for longer compositional projects.

Prerequisite(s): Completion of Jazz Composition 1 required, PY.570.459[C].

Distribution Area: P, Y

This course explores gospel music as a cultural, historical, and artistic force—the fountainhead of American popular music. We will examine its roots, development, performance practices, central figures, and ongoing influence across genres and geographies. While primarily a lecture-based, listening-intensive course, students will engage with primary sources, critical scholarship, and curated audio/video examples to develop a comprehensive understanding of the gospel tradition.

Distribution Area: P, Y

This is a hands-on course open to all majors. Studies part of the extensive repertoire and vocabulary performed by drumming ensembles of Peru, Colombia, Venezuela, Puerto Rico, and Cuba, among others. It also introduces participants to hand-drumming techniques, as well as historical contexts of Afro-Diasporic music in the continent and the application of these languages in contemporary music.

Distribution Area: P, Y

Prerequisite(s): Afro-Diasporic Percussion 1 (PY.570.495) is a pre-requisite requirement.

Distribution Area: P, Y

A performance/theory course designed to help students acquire and develop basic language for improvisation through the practical application of information learned in 720 • 127-128 Jazz Fundamentals: chords, scales/modes, melody, rhythm, patterns, harmonic progression, and song forms. Incorporates the performance and examination of several vehicle types, including songs drawn from standard jazz repertoire. Special emphasis will be devoted to the performance and analysis of various improvised solos by master musicians. In addition, development of technical facility, listening/hearing skills, sound, and musical awareness will be addressed. Prerequisites: 570.127-128 Jazz Fundamentals and 570.570 Jazz History or placement by the instructor.

Prerequisite(s): Open to Jazz majors only.

Distribution Area: P, Y

A performance/theory course designed to help students acquire and develop basic languagefor improvisation through the practical application of information learned in Jazz Fundamentals(720.127–128). Incorporates the performance and examination of several vehicletypes, including songs drawn from standard jazz repertoire. Special emphasis is devoted tothe performance and analysis of various improvised solos by master musicians. In addition,development of technical facility, listening/hearing skills, sound, and musical awarenesswill be addressed. Open to majors only. Prerequisites: Jazz Fundamentals (570.127–128)and Jazz History (570.570) or placement by instructor.

Prerequisite(s): Open to Jazz majors only.;Completion of Jazz Improvisation 1 required, PY.570.561[C].

Distribution Area: P, Y

The continued development of knowledge and skills acquired in Jazz Improvisation I with emphasis on increased fluency and mastery. Prerequisite: Jazz Improvisation 2 or placement by the instructor.

Prerequisite(s): Open to Jazz majors only.;Completion of Jazz Improvisation 2 required, PY.570.562[C].

Distribution Area: P, Y

The continued development of knowledge and skills acquired in Jazz Improvisation I withemphasis on increased fluency and mastery. Open to majors only. Prerequisite: Jazz Improvisation 1-2 (530.561–562) or placement by instructor.

Prerequisite(s): Open to Jazz majors only.;Completion of Jazz Improvisation 3 required, PY.570.563[C]

Distribution Area: P, Y

This course covers two main areas of focus: people and methods. It surveys the chronological origins and proliferation of jazz through various styles and artists. The development of jazz as an art form will be traced from the acculturation of Africans in America to the present day by learning about its major instrumentalists, ensembles, composers, arrangers, innovators, revivalists, and revisionists. It also explores the techniques and processes that have been employed by jazz musicians to help make it into the highly structured and evolved art form that it is today. Students will read a wide array of primary and secondary sources and listen to a range of recordings — all with the goal of discovering the various processes, meanings, functions, and experiences of jazz. This class places a strong emphasis on developing listening skills.

Distribution Area: P, Y

This course has two main areas of focus: 1) The People—a survey of the chronological history of jazz through the use of texts, recordings, videos, and guest lecturers. The development of jazz as an art form will be traced from the acculturation of Africans in America to the present day by learning about its major instrumentalists, ensembles, composers, arrangers, innovators, revivalists, and revisionists. 2) The Methods—a survey of the techniques and processes that have been employed by jazz musicians to help make it into the highly structured and evolved art form that it is today. Students will have experience with first-hand performance, arranging, and composing, along with lectures, demonstrations, and extensive discussion.

Prerequisite(s): Completion of Jazz Analysis/History 1 required, PY.570.569[C].

Distribution Area: P, Y

Lab instruction in the fundamentals of effective band interplay with an emphasis on the “Gospel Rhythm Section. Includes Master Class and Guest Lecturer components.

Distribution Area: P, Y

The graduate composition course will survey classic and contemporary composers' style, use of form, development, and arranging techniques. Students will compose new music ranging from lead sheets, to arranged/orchestrated works for small to large instrumentations.

The graduate composition course will survey classic and contemporary composers' style, use of form, development, and arranging techniques. Students will compose new music ranging from lead sheets, to arranged/orchestrated works for small to large instrumentations.

There are many specific skills required to be an effective rhythm section player. From comping in various styles to accompanying vocalists, members of the rhythm section need to be able to adapt to any style and communicate specific harmonic, rhythmic and melodic elements in order to make the music come to life. This course will cover a wide range of rhythm section techniques, covered by various members of the jazz faculty over two semesters.

Prerequisite(s): This course is open to Jazz majors only.

There are many specific skills required to be an effective rhythm section player. From comping in various styles to accompanying vocalists, members of the rhythm section need to be able to adapt to any style and communicate specific harmonic, rhythmic and melodic elements in order to make the music come to life. This course will cover a wide range of rhythm section techniques, covered by various members of the jazz faculty over two semesters.

Prerequisite(s): This course is open to Jazz majors only.

This course surveys and analyses the connections of African, European, and Indigenous music cultures found among major genres of the Americas and the Caribbean. Students will be able to discuss, transcribe, and workshop rhythmic and music-theoretical components during each session.

This course is designed to introduce students to the history and rich cultural contexts of the Mid-Atlantic states inclusive of Delaware, Maryland, New Jersey, Pennsylvania, Virginia, Washington, DC, North Carolina, South Carolina, and West Virginia. The course will delve into the rich tapestry of Jazz music's history in the Mid-Atlantic United States as a weekly course. The student will explore the profound impact of the African American contribution from where this unique art form was developed. Jazz, while recognized globally for its cultural significance rooted in the American experience, serves as America's gift to world culture.

Jazz Music Business will cover many of the necessary skills to be successful in obtaining the career one wants. Learning what the tools are to be self-sufficient will impact one's longevity in the business and help them acquire the best help if needed. With technology advancing every day, knowing what current changes are happening is crucial. This course will cover topics such as Contracts, Trademarks, Copyright, Finances and more.

Undergraduate recital for Jazz Majors.

Prerequisite(s): Majors only

1st recital for GPD Jazz majors.

Prerequisite(s): Majors only

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

2nd recital for GPD Jazz Majors.

Prerequisite(s): Majors only;Completion or co-registration of previous recital in sequence, PY.570.721[C], needed.

Corequisite(s): Co-enrollment in major lessons required: PY.100.100[C] or PY.100.101[C] or PY.050.100[C] or PY.050.101[C] or PY.102.100

Prerequisite(s): Open to Jazz majors only.

Formerly Jazz 309 Jury under the same course number.

Prerequisite(s): Open to Jazz majors only.

What is music, and how do we study it? Who decides which musical works, practices, and histories matter—and how? Introduction to Music Studies is a gateway course for undergraduate students that examines music not only as sound or score, but as a social, cultural, and historical practice. The course draws on methodologies from historical musicology and ethnomusicology to explore how musical meaning emerges through performance, listening, circulation, and participation. Students will encounter music from a range of historical periods and global contexts while developing tools for critical reading and listening.

Distribution Area: P, Y

A survey of Western art music from 1600-1950.

Distribution Area: P, Y

A survey of music in the Western classical tradition from antiquity to the late 17th century.

Prerequisite(s): Sophomores must have completed PY.260.115[C] AND PY.260.216[C] in order to enroll in this course.

Corequisite(s): Students cannot take more than one Music History at the same time.

Distribution Area: P, Y

A survey of music in the Western classical tradition from the early 18th century to the late 19th century.

Prerequisite(s): Sophomores must have completed PY.260.115[C] AND PY.260.216[C] in order to enroll in this course.

Corequisite(s): Students cannot take more than one Music History at the same time.

Distribution Area: P, Y

A survey of music in the Western classical tradition from the early 20th century to the present day.

Prerequisite(s): Sophomores must have completed PY.260.115[C] AND PY.260.216[C] in order to enroll in this course.

Corequisite(s): Students cannot take more than one Music History at the same time.

Distribution Area: P, Y

Prerequisite(s): Students must have completed Core 1 and Core 2.

Distribution Area: P, Y

This class provides an introduction to the popular musics of the Arab world from the 1920s through the early 2000s. The goals of this course will be twofold: first, we will consider the ways that technology, global and regional politics, class, and gender shaped musical aesthetics. Second, we will interrogate the role that popular music played in shaping understandings of national character and regional boundaries. Through close listening and reading assignments, students will develop listening and analytical skills specific to the music of the Arab world, and learn techniques for analyzing this popular music’s entanglement with its social, historical, and cultural context. What, for example, do the radio and music industries have to do with the rise of Arab Nationalism? What can the development of Lebanese indie-rock since the 1990s tell us about contemporary Lebanese sociopolitics? This course is assessed based on a midterm and final exam, as well as several small quizzes throughout the course of the semester.

Distribution Area: P, Y

This course will explore how music reflects and produces culture. Our goal is to examine how musical styles emerge from ongoing interracial and intercultural exchanges, continually generating new forms and experiences. We will learn to critically examine how music operates within complex political and economic frameworks and think about how it works to reinforce or challenge existing structures of power. The goal of this course we aim to equip students with the analytical tools to approach any musical practice by listening and thinking critically, considering factors such as race, ethnicity, gender, and class.

Distribution Area: P, Y

A review course covering classical antiquity to the 21st century. Students must earn a passing grade in PY.610.501, PY.610.502, PY.610.503 and PY.610.504 before enrolling in graduate seminars (PY.610.6xx) in Musicology. Open to graduate students only. Offered in the summer and fall.

A review course covering classical antiquity to the 21st century. Students must earn a passing grade in PY.610.501, PY.610.502, PY.610.503 and PY.610.504 before enrolling in graduate seminars (PY.610.6xx) in Musicology. Open to graduate students only. Offered in the summer and fall.

A review course covering classical antiquity to the 21st century. Students must earn a passing grade in PY.610.501, PY.610.502, PY.610.503 and PY.610.504 before enrolling in graduate seminars (PY.610.6xx) in Musicology. Open to graduate students only. Offered in the summer and fall.

A review course covering classical antiquity to the 21st century. Students must earn a passing grade in PY.610.501, PY.610.502, PY.610.503 and PY.610.504 before enrolling in graduate seminars (PY.610.6xx) in Musicology. Open to graduate students only. Offered in the summer and fall.

A review course covering classical antiquity to the 21st century. Students must earn a passing grade in this course before enrolling in graduate seminars in Musicology. Open to graduate students only. Offered in the summer and fall.

How will innovations of the past open future pathways for performers and composers? This course probes the results and unexpected resonances of transformative technologies such as electrically amplified sound, magnetic tape, digital audio, and social media. Readings and seminar discussion topics include how the microphone transformed singing; the origins and role of artificial reverberation; phonomanipulation and tape editing; drum machines and sampling; the resurgence of analog devices (record players, modular synthesizers, vintage guitar pedals, etc.); and streaming audio. Technology continues to shape how music is recorded, performed, and released into the world, so we will explore many genres and exemplars including multi-microphone perspectives of Beethoven symphonies; early field recordings; musique concrète; popular and ambient music; lowercase sound; and generative music rooted in Artificial Intelligence.

Prerequisite(s): Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.;Undergraduates need to have successfully completed 2 of the following courses. History of Music 1, History of Music 2, History of Music 3, Music Histories in a Global Context.

Distribution Area: P, Y

What was it like for a singer to walk from the Low Countries, across the Alps, and then sing in the Sistine Chapel? What are the contours of a choir book? Why are rivers important? This course examines different topographies of musical culture between 1400–1600– in both Europe and other cultures of contact– drawing on the human relationship with the natural world as a locus for musical experience, literally and figuratively. This course provides an introduction to the research skills for music in this time period, including codicology, paleography, archival documents, and historical notation, as well as drawing from a breadth of interdisciplinary fields, including digital humanities, environmental humanities, sound studies, and art and literature of the era.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of 3 following courses in order to register: PY.610.321[C], PY.610.322[C], PY.610.323[C].;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

Distribution Area: P, Y

This course is designed as a series of highlights. We will explore a wide range of musical works and cultural topics related to George Gershwin’s life and career. Questions to be posed over the course of the semester will include: Who were Gershwin’s colleagues and collaborators? How did Gershwin’s music interact with the racial terrain of American culture during the Jim Crow era? And does it continue to engage with issues of race today? How has Gershwin’s legacy been shaped by American political and business interests? Did technology play a role in the shaping of his “American” sound? If yes, then how did technology influence Gershwin’s creative identity? Students will be asked to lead discussions about Gershwin's compositions, so success is dependent upon setting aside blocks of time on a regular basis to complete the various listening and reading assignments. Written assignments will include creating annotated playlists related to various facets of Gershwin’s career and a final research paper/long-form essay that relates to material discussed in class.

Distribution Area: P, Y

Cited as “the most influential teacher since Socrates,” Nadia Boulanger (1887-1979) taught and nurtured generations of young musicians throughout her adult life. Amongrenowned American composers whom she mentored are Aaron Copland, Elliott Carter, Quincy Jones, and Philip Glass. Who was this extraordinary woman who witnessed two world wars and distinguished herself as a legendary pedagogue? What were her teaching methods? How did a Parisienne guide and shape the career trajectories of so many American composers and musicians? This class will explore these questions and many more. In addition to examining history and identifying Boulanger's impact on the current state of musical composition, our course will initiate an oral history project to capture the accounts of the last generation of musicians to work directly with Boulanger toward preserving her legacy.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of 3 following courses in order to register: PY.610.321[C], PY.610.322[C], PY.610.323[C].;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

Distribution Area: P, Y

This course examines music contests across time, with a particular but NOT exclusive focus on vocal contests. While contests such as American Idol have received widespread attention, these competitions must be understood in terms of a much broader trend towards the proliferation of music prizes, both within and outside the classical music tradition. Our course examines the deep history of the current obsession with music contests. Together we will ask: what sustains the power of prizes? What has driven their incredible proliferation since the outset of the twentieth century, when the Nobel, Pulitzer and modern-day Olympic prizes were first awarded? How does prize culture motor the classical- and popular-music industries? And how should musicians best maneuver themselves within modern-day economics of prestige? This course will be of relevance to all those with an interest in how musical value is created—and tastes shaped—by prize-giving institutions.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of 3 following courses in order to register: PY.610.321[C], PY.610.322[C], PY.610.323[C].;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

Distribution Area: P, Y

In April 1904, Richard Strauss undertook a whirlwind tour of the United States in which he was heralded as the “lion of the musical hour.” Four years later in January 1908, Gustav Mahler made his own American debut, inaugurating a spectacular but troubled relationship with both the New York Philharmonic and the Metropolitan Opera. Their receptions could not have been more different. In this course we use Strauss and Mahler as a lens through which to understand both German and American art at the Fin de Siècle. We will discuss American concert culture, performance practice, and the phenomenon of the celebrity concert tour. We will explore the works that Strauss and Mahler wrote and premiered in this period and their increasingly divergent careers. Finally, we will investigate how Americans, grappling with European art, tried to define their own.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of 3 following courses in order to register: PY.610.321[C], PY.610.322[C], PY.610.323[C].;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

Distribution Area: P, Y

This course explores the construction of the idea of “experimental” music since around 1950. We will consider the work of numerous individuals, groups, and movements including John Cage and the New York School, the Chicago-based AACM, the Darmstadt circle, the Lower East Side loft jazz scene, Cornelius Cardew and the Scratch Orchestra, and Fluxus. Through the study of recordings (commercial and archival), scores, artists’ writings, and scholarly literature, we will develop historical and aesthetic understanding of the varied practices that helped create the notion of musical experimentalism. Finally, we will study more recent experimental work including that being done in Baltimore at venues such as the Red Room and at festivals such as High Zero.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

Distribution Area: P, Y

Distribution Area: P, Y

Music flourished in the court of Queen Elizabeth I, who reigned from 1558-1603. Composers thrived in all genres: secular and sacred, instrumental and vocal. Centuries later, the legendary monarch inspired opera composers such as Rossini, Donizetti, and Britten to create musical works dramatizing the renaissance queen’s life. This course reviews the masterpieces of English renaissance and also examines the rich operatic works depicting the royal heroine. Topics to be addressed will include nineteenth century continental reception of English history and twentieth century revivals of the Elizabethan lore.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of 3 following courses in order to register: PY.610.321[C], PY.610.322[C], PY.610.323[C].;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

Distribution Area: P, Y

Music that Changed America offers a political history of the United States through a musical lens. It explores the many ways that music, perhaps more than any other art form, has given voice to those who might otherwise have gone unheard. Learning about the music that has influenced American politics, for good and for bad, can teach us about our past. But even more importantly, discovering music’s power to activate change can help us listen more attentively to the present world around us.

Distribution Area: P, Y

Music and film have always shared an intimate relationship. From its inception, film has been injected with pre-existing music, including chant, traditional Western composers from Beethoven to Bartók, and more contemporary artists from the Beatles to Beyonce. This music has influenced American and international film industries alike, shaping the look and sound of film. Through close viewings—and listenings—of film, we will investigate the meaning(s) these musical works can acquire as they are re-used and re-purposed. Similarly, we will explore how, through film, pre-existing music can live on, change, and reify the past through contexts beyond the concert consumption with which we may be more familiar. During this course, we will hone your skills as an academic writer by learning to critically evaluate and craft arguments about the roles of music/sound in film. Some of the topics covered include: canonical works from the 18th and 19th centuries, the use of 20th-century avant garde music in horror, representations of jazz, chant and other medieval genres, anachronistic uses, and popular song. Your work will include studying film clips and full-length films; readings; short writing responses (100-200 words); four short papers focused on close readings of scenes or other supplied prompts (1000-1500 words); and a midterm project. Paired with writing workshops and peer review exercises, you will develop the skills necessary to contribute to the greater academic community, write clearly and logically for your intended audience, and formulate original, persuasive arguments.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of 3 following courses in order to register: PY.610.321[C], PY.610.322[C], PY.610.323[C].;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

Distribution Area: P, Y

There would seem to be little left to learn about Beethoven. The common understanding of the composer as a temperamental, solitary genius, cursed with a tragic hearing loss—often credited with spurring him to produce the world’s most profound music—has changed little over the past century and a half. What might remain to be studied? This course takes up the challenge, reconsidering the well-known features of the composer’s life, work, and legacy through examining trends in Beethoven scholarship of the last 25 years. What did “heroism” sound like in music, and did Beethoven’s contemporaries hear the music in this way? What were the political forces behind Beethoven’s work? What can we learn by historicizing the notion of “genius”? How can disability studies inflect our understanding of Beethoven’s deafness? And what can Beethoven’s conversation books—recently published for the first time in English translation—show us about his life? Through asking these questions, we will consider what various historiographical methods, such as microhistory, disability studies, and actor-network theory, have to offer the study of a repertoire most commonly approached through biography. Consideration of these questions will inevitably shed light on the inherited value systems that make up contemporary musical life, many of which are inherited from nineteenth-century Beethoven reception.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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Edward Kennedy “Duke” Ellington (1899 – 1974) was one of the most prominent musical figures of the 20th century. His music was often defined as “jazz,” but he sought to create a body of music “beyond category.” In fact, he preferred to be called simply an “American” composer. The breadth of Ellington’s output was astounding. In addition to writing hundreds of jazz standards, including “Mood Indigo” and “Don’t Get Around Much Anymore,” he served as the leader of America’s most stellar big band for nearly a half century and composed numerous film scores, musicals and large-scale orchestrated works. Even more importantly, he was one of the most prominent Black public figures in American history. Born and raised in Washington, DC, he was acutely aware of American politics. All his life, he served as a leader committed to civil rights, equality and America’s role in the world. Although nearly fifty years have passed since Ellington’s death, his music still permeates our society, not just in the concert hall, but also via film, advertising and the art of sampling. What is it about Ellington and his music that has made his legacy so enduring? Finding the answer(s) to this question is the central goal of this course.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of 3 following courses in order to register: PY.610.321[C], PY.610.322[C], PY.610.323[C].;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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What can sound and listening reveal about personal, political, and cultural power? “The soundscape is no accidental byproduct of society," cautions R. Murray Schafer “rather it is a deliberate construction by its creators.” Beginning with Schafer’s influential text The Tuning of the World, this course will introduce multiple approaches to sound studies. Research methodologies range from soundwalking and soundscape composition to the historical recovery of lost soundscapes embedded in literature, the law, and earwitness testimonies.Topics include acoustic ecology, the history of recorded media, field recording, and modes of listening. Along with readings and seminar discussion, course activities include writing assignments, listening sessions, class presentations, soundwalks, and sound recording projects.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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This course addresses retellings of the Orpheus myth from Monteverdi’s L’Orfeo (1607) to Mitchell’s Hadestown (2010) and Aucoin’s Eurydice (2020). We consider why this myth is so compelling to composers and librettists and explore the complexities involved in adapting the same subject for new audiences.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of 3 following courses in order to register: PY.610.321[C], PY.610.322[C], PY.610.323[C].;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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This class provides a detailed overview of prevalent performance conventions in the Baroque era as revealed by primary sources, as well as some insight into why these matters are important and what drives the early music movement. Required of all Historical Performance MM students.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

Music defines our media experiences. Musical themes can likewise go beyond their original audiovisual framework to operate as musical-cultural texts. This online, asynchronous course uses music as a tool to investigate musical branding and the creation of meaning in the media we consume every day. Through close viewings - and listenings - of films, television episodes, video games, commercials, and other media, this course will explore the meaning(s) these media construct and acquire as both they and their music are re-used and re-purposed in multimedia franchises that expand their content into myriads of installments and platforms.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

What impact has mass mediation had on the way that music is made, understood, listened to, and valued? What was radio's role in the rise of 20th century authoritarian rule? How was the microphone implicated in shifting values and gender dynamics around popular music? How might we approach audiovisual mediations like music video or guitar hero as a way to refract the many and often conflicting meanings, roles and investments that music accrues? In this class, we will explore the ways that music transforms and is transformed in the process of mediation and mediatization. Thinking with and through the work of scholars across the humanities, we will trace the history of musical media and explore the ways that music assumes different roles and undergoes a series of transformations in various media contexts.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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This course addresses a variety of examples of music in multimedia works of art and popular culture—with supporting texts from the fields of musicology, art history, and philosophy—to consider the interactions between music and visual media from painting to cinema and television, and from contemporary opera design to the video game. Open to graduate students only.

Prerequisite(s): Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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This class provides a survey of prevalent performance conventions in the nineteenth century as revealed by primary sources, as well as some insight into why these matters are important and what constitutes the so-called Historically Informed Performance (HIP) perspective.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of 3 following courses in order to register: PY.610.321[C], PY.610.322[C], PY.610.323[C].;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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Bringing together the medical humanities, disability studies, and musicology, this course examines how music and music-making—practices that engage both mind and body—have shaped and been shaped by evolving notions of health, disease, and disability. How are conditions such as tuberculosis or madness depicted through music, and what is at stake in such portrayals? How did the so-called “Mozart Effect” emerge, and why was it so compelling? How do deaf individuals participate in musical culture, if at all? In what ways might an impaired voice hold musical value?By exploring questions such as these, the course reveals that medicine, far from being an objective, “hard” science, is deeply entangled with cultural forces and therefore open to social critique. Beyond the historical inquiries, this course ultimately encourages students to critically question how we might define wellness, ability, and artistry today.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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This graduate seminar discusses the relationship between music and liturgy in the West, through theological, historical, and practical perspectives. Using a series of case studies from the Middle Ages through the liturgical revival of the twentieth century, this course aims to give graduate and upper-level undergraduate students a firm grounding in liturgical forms and musical genres, with an eye to contemporary use. This course may be of special interest to organists, singers, and conductors interested in performing sacred music––in either a liturgical or secular context.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

How does sound build possible worlds of the future? In this course you will discover how science fiction sounds and signifies in film, from established classics (Forbidden Planet; 2001; Star Wars, Interstellar) to landmarks of dystopian sound design (La Jetée; Solaris; Pumzi). In addition to viewing and analyzing complete films, an array of excerpts from the popular to the obscure will animate seminar discussion and fuel creative assignments. You will get hands-on experience in sound scoring, video editing, and producing a short documentary. Topics include classic and contemporary approaches to narrativity; sound design-as-character; the diegetic fallacy; Foley; the acousmêtre; and models of world-building through sound and music.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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This class explores the music, culture, and history of the Soviet and post-Soviet peripheries, meaning the non-Russian republics of the USSR, including, among others, the Baltic countries (Estonia, Latvia, Lithuania), Ukraine, Belarus, the Caucasus (Georgia, Armenia, Azerbaijan), and the diverse countries of Central Asia (including Kyrgyzstan and Kazakhstan). We will focus on notable musical examples (including classical, traditional, and popular musics) as we investigate questions about identity, power, cultural politics, and coloniality and decoloniality from the early twentieth century up to the present. Representative composers include Lysenko, Glière, Liatoshynsky, Khachaturyan, Garayev (Karayev), Taktakishvili, and Tubin, as well as the prominent figures from the late-Soviet period: including Gubaidulina, Pärt, Silvestrov, Mansuryan, and Kancheli, among others. We will consider how different Soviet and post-Soviet thinkers from representative traditions wrestled with local definitions of “Sovietness” as well as with varied interpretations of the “post-Soviet.” The discourse of socialist realism and its bureaucratic and aesthetic negotiations will be a central topic, but so too will divergences from Moscow-centered artistic and philosophical demands.

Prerequisite(s): Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.;Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327

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From Beethoven to Beyoncé, musicians have been arranging songs into themed collections for more than two hundred years. These collections tell stories and explore poetic ideas, and they often provide windows into how subjective experiences and transformations have been understood and expressed in various historical contexts. This course explores the related genres of song cycles and concept albums from the early 1800s through the present day. In addition to Beethoven’s An die ferne Geliebte and Beyoncé’s Lemonade, we will analyze song cycles by composers such as Schubert, Schumann, Chausson, Mahler, Elgar, and Schoenberg, and concept albums by Joni Mitchell, Marvin Gaye, Pink Floyd, and others. Throughout, the emphasis will be on the relationship between music and text, and the complex interactions between works of music and their cultural, social, and political contexts.

Prerequisite(s): Undergraduates need to have successfully completed either two history of music courses, or a combination of one history of music course and one ethnomusicology course;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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How do the innovations of women making electronic music complicate notions of listening, music history, and the nature of music? Instead of conceptualizing gender and technology as discrete, oppositional, and universally open, this seminar explores electronic music through the lens of feminist critical frameworks and musical analyses in tandem with models of listening – notably Deep Listening as promulgated by Pauline Oliveros and Hildegard Westerkamp's approach to "conscious listening." Inspired and guided by Tara Rodgers' seminal anthology of interviews, Pink Noises: Women on Electronic Music and Sound, we discuss the work, struggles, triumphs, and techniques of pioneers including Daphne Oram, Pauline Oliveros, Wendy Carlos, Ruth Anderson, and Adrian Piper. We will also examine contemporary innovators and cyberfeminist speculative futures. Along with readings and seminar discussion, course activities include research presentations, listening sessions, brief performances, and composition projects.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of 3 following courses in order to register: PY.610.321[C], PY.610.322[C], PY.610.323[C].;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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This course introduces research from the roles of consuming and then creating materials with a focus on how research is created, disseminated, and accessed. Scholars analyze and produce a variety research outputs relevant for music researchers and performing professionals. Students engage with secondary and archival research materials, discuss how to publish and disseminate their own research, and explore how information is organized to optimize the use of academic library resources now and post-graduation. Open to MM and undergraduate Musicology minor students only. Fall and spring.

This course explores the multifaceted musical culture in China from the time of Confucius in the fifth century BCE to the present. We will examine the different types of traditional music including court ritual music, Qin music for the literati, and vernacular operas as well as contemporary music that draws from popular culture and globalization. In analyzing these different types of music, we will focus on the institutions and individuals who shaped China’s musical culture and the interactions between music and social and historical changes. In addition, we will investigate how musicians in the West studied and appropriated Chinese music. By the end of the course, you will be able to identify and articulate the biases that often cloud our study of extra-European music and analyze and understand Chinese music on its own terms.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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This class examines Ukrainian music from the 18th century through the present. It will study such representative composers as Bortniansky, Lysenko, Revutsky, Liatoshynsky, the Kyiv avant-garde of the 1960s (Sylvestrov, Hrabovsky, Hodzyatsky), and important figures of more recent generations, including those actively responding to Russia’s full-scale invasion of Ukraine (Poleva, Korsun, Grygoriv and Razumeiko). The course will investigate key historical and aesthetic developments and the continuing negotiations and assertions of national identity that characterize the development and evolution of Ukrainian music. Ukrainian music’s ongoing dialogue with other art forms will also be a focus (including fiction, poetry, and film).

How did Ludwig van Beethoven compose? Modern-day musicians are extraordinarily fortunate that Beethoven saved his work in various stages of completion. Through his surviving autographs and sketches, we have the ability to trace his early ideas to their eventual fruition. The simple becomes sophisticated; the seemingly vapid can be enlivened or abandoned altogether. Perhaps as inspiring as the grandeur of these compositions in their final form is Beethoven’s industry and sheer diligence so clearly evident in the sources. This seminar provides performers an opportunity to examine and analyze Beethoven’s compositional process and exposes them to practical research tools. This course also delves into evolving musicological trends by accessing digital archives located throughout the world. A visit to the Library of Congress in Washington DC will be scheduled. All musicians are welcome.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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Is climate change audible? What role does music play in environmental conservation? What is sound pollution? Is birdsong music? This course will explore how sound mediates the relationship between humans and the environment, what some researchers describe as an acoustic ecology. Combining interdisciplinary approaches from sound studies, disability studies, environmental studies, and musicology, we will contemplate how we come to know our environment through deep listening, consider how people communicate their relationship to the environment through their musical creations, and reflect on the sound relations between humans, plants, and creatures. Finally, we will ponder the role that music and sound play in our experience of climate change and as a resource for building connection with the natural world.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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This course examines changing concepts of performance and performers in Western art music from the eighteenth century through the present. Topics will include the work concept, virtuosity, improvisation, the idea of textual fidelity, and historically informed performance (HIP). As we explore these topics, we will consider how the act of performing music has engaged discourses on broader issues such as gender, race, ethnicity, nationality, technology, and religion.

Prerequisite(s): Undergraduates need to have successfully completed either two history of music courses, or a combination of one history of music course and one ethnomusicology course;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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Bach’s musical language, like that of his contemporaries across Europe, was deeply shaped by dance and music for dancing. Though Bach’s Lutheranism limited his participation in social dancing, he nevertheless composed hundreds of named dances and hundreds of works in multiple idioms constructed on dance models. This graduate seminar will explore the histories of the Baroque dance forms Bach inherited with an eye to how the composer incorporated them into his musical language and, in many cases, transformed them. We will consider Bach’s music and writings alongside relevant primary sources and modern scholarship to ask how the musical and cultural conventions of dance music helped shape the composer’s contributions to musical culture.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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In this class, we explore the major sacred vocal works of Johann Sebastian Bach, through historical, musical, and theological lenses. "Bach’s Architecture” focuses on the St John Passion (1724), St Matthew Passion (1727), and Mass in B Minor (1734–1749), as well as a few select cantatas, exploring how Bach uses musical structure to express theological ideas. The first two classes are an overview in basic structures of western Christian liturgy, and the distinctiveness of its Lutheran development. Subsequent classes explore these major works through a variety of critical lenses, including performance practice. “Bach’s Architecture” may be of particular interest to conductors, organists, and vocalists.

Prerequisite(s): Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.;Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327

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This course explores music's critical role in shaping a global eighteenth century by examining the significant yet often neglected musical dialogue between Beijing and Paris, two cosmopolitan cities that experienced major global influences in the 1700s. Focusing on modes of transmission, integration, and indigenization, this course offers a new understanding of global history through the lens of music. By studying the various settings in which this musical dialogue took place including theaters, courts, homes, and trading routes, and the different agents who participated in this dialogue from politicians, intellectuals, and musicians to missionaries, you will learn how people in both the East and the West accepted, resisted, or shaped globalizing forces and how music in this process helped to construct a global network of knowledge.

What is ethnomusicology? What do ethnomusicologists do? What do they study? What questions do they ask, and how do they go about answering them? In this course, we explore how ethnomusicologists have made sense of music and sound. We will trace the intellectual history and contours of the field of ethnomusicology by exploring the questions that ethnomusicologists ask and the methods they employ in their attempts to answer them. Crucially, we will learn by doing. Students will apply ethnomusicological insights to their own lives through course assignments, including short critical reflections on the music and ideas we encounter. Journal reflections will form the basis for a final project, developed in consultation with the instructor, which may range from ethnography based on participant-observation, to creative performance and reflection.

Prerequisite(s): Undergraduates need to have successfully completed either two history of music courses, or a combination of one history of music course and one ethnomusicology course;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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As early as the mid-1920s opera was widely criticized for purportedly being out-of-joint with modernity, irrevocably stuffy, and elitist. By mid-century few composers associated with avant- garde movements were interested in the form. Since the early 1970s, however, there has been a kind of operatic renaissance involving a diverse pool of composers, writers, and artists (although the critiques never stopped). This course surveys an array of the more experimental operas written since 1970 by composers with roots in numerous traditions including serialism, free jazz, fluxus, performance art, and minimalism. We will seek out causes for the operatic turn while exploring how composers, writers, directors, and visual artists have adapted opera to reflect contemporary concerns. Each class will focus on a single work with associated texts by the relevant artists as well as readings drawn from musicology, art history, philosophy, media theory, sociology, linguistics, psychology, and theater studies. In addition to our weekly meetings we will have opportunities to visit composers, opera companies and institutes, venues, and festivals. Composers/librettists/directors covered in the course will include: Igor Stravinsky and W. H. Auden (the sole pre-1970 example); Carla Bley and Paul Haines; Meredith Monk; Gyorgi Ligeti; Robert Wilson and Philip Glass; Karlheinz Stockhausen; Robert Ashley; Anthony Davis and Thulani Davis; Laurie Anderson; Luigi Nono; Anthony Braxton; Heiner Goebbels; Olga Neuwirth and Elfriede Jelinek; and Michel van der Aa.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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Strict rules about resolving dissonances dominated Western classical music theory and composition across the Common Practice Period, thereby codifying a precise framework of expectations for how music “should” work. Yet what could arguably be described as some of the most expressive moments in music from this time occur precisely when those established rules are subverted. This 3-credit graduate seminar invites students to enter into the mindset of composers and initial audiences of selected music and to examine such issues as 1) when–and under what conditions–subversion of the rules was indeed considered subversive; 2) what it meant for music to exert clear—even visceral—power over audiences in such moments; and 3) how the irregular treatment of dissonance has been almost an idée fixe within the Common Practice Period, a function whose expressive potential has been endlessly reimagined.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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What is the future? Is it a structure of feeling? An ideology? An aesthetic orientation? A material form? A framework for action? This course explores the notion of the “future” as it has been conceived across an array of disciplines, historical actors, and cultural practices, with a focus on music as a medium for self- and world-making. Through close considerations of academic studies, artistic treatises, ideological manifestos, and musical projects which mobilize the future as either an object or lens of study, we will consider the relationship of music to anticipation, aspiration, dreaming, hope, pessimism, and utopia/dystopia. We will also experiment with imagination, speculation, and dreaming as frames for our own musical and intellectual practice. Students will produce writing in several genres (an abstract, a concert review, a conventional paper), with the option of pursuing a musical project in tandem with their final paper.

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In this seminar we'll explore the lives and music of twelve female or minority composers with special attention to reception history, and the challenges of expanding the classical canon. Artistic “Canons” are complex, nebulous, and inherently fraught structures, in which cultural establishments reflect and propagate their values. In this course, we will investigate the histories of these canons, and the rationales for the inclusions and, most importantly, exclusions. Our individual case studies are linked by this broader historiographical narrative.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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Prerequisite(s): Graduates students must have successfully passed their placement exam or equivalent review course.;Undergraduates must complete 2 out of the 4 following courses in order to enroll. History of Music 1,2,or 3 and/or Music Histories in a Global Context

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It is a common idea that, at its best, Italian opera can induce all manner of sensations in us and even remind us of what it means to be human. It can be hard, however, to articulate what enables it to do so. In this course we consider a cluster of operas by Rossini, Donizetti, Verdi, and Puccini for which there was incredible demand in the 1800s and examine the concrete musical and textual features that allowed them to animate their characters and—in theory—structure the sentiments of their audiences. With attention to the realities of Italians in the 1800s we ask what it felt like to consume these works—in the street, at home or at the opera—and for whom. What lessons did audiences absorb, and why? For whom did these works resonate and whom did these exclude? While conceived with Italian audiences in mind, these operas soon became some of the foremost artworks to circulate around the world in the 1800s, from Buenos Aires to Calcutta to Paris. Thus, with these same questions in focus, across the second half of the course we start to articulate how, via this circulation, Italian opera contributed to what has been termed the “transformation of the world” in the nineteenth-century.

Prerequisite(s): Graduate students must have passed their placement exam or successfully completed their review course.;Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327

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Wagner stands as one of the most famous and controversial exemplars of German musical romanticism. A revolutionary, a composer, a dramaturg, a critic, and––by some metrics––a philosopher, Wagner is an unavoidable voice in the story of opera. In this course we evaluate Wagner's life, works, and historical context. We evaluate patterns of criticism of reception, all with an aim of honing our skills as readers and writers.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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A survey of American Music, from colonial times to the middle of the 20th century. There will be a considerable emphasis on relating musical expressions to changing social/historical conditions. We will examine the roles played by technological developments and the rise of the music business shortly after the American Revolution. Our country’s varied musical styles invite serious study of all modes of performance and dissemination, not just “classical” composition and performance. Active participation in discussion is a requirement of this seminar, as is writing a research paper on a topic of the student’s choice.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of 3 following courses in order to register: PY.610.321[C], PY.610.322[C], PY.610.323[C].;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

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Music in Maryland: from British Colonization through the mid-20th Century: Founded in 1634, Maryland's diverse geography, economy, and settlement begat a rich music history. This course traces music of the great tobacco plantations of the Chesapeake Bay, with their co-mingled African and British music, through the growth of Baltimore into a center of publishing, concerts, opera, church music, instrument-building and teaching. We will examine the roles played by technological developments and the rise of the music business shortly after the American Revolution, also considering developments in sound recording and broadcast radio. Going well beyond `classical` trends, we will also examine rich popular and folk traditions, such as parlor songs and `Sacred Harp` hymnody. Active participation in discussion is a requirement of this seminar, also required are several writing assignments and an in-class presentation on a topic of the student’s choice.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of 3 following courses in order to register: PY.610.321[C], PY.610.322[C], PY.610.323[C].;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

Distribution Area: P, Y

Before radio, recording, and mass culture forever changed how music is performed and consumed, vibrant, vernacular musical cultures thrived across the young United States. Singing, dancing, and playing musical instruments were activities central to the cultural practices of every community present (immigrants and settlers, indigenous peoples, enslaved and free, etc.) during the formative century between the American Revolution and the Civil War. This graduate seminar will explore the diverse musical sounds and traditions that emerged during the nation’s first century and consider how vernacular music is shaped by the experiences and conditions of those who make it. Through a series of case studies of particular musics and communities we’ll consider the nineteenth-century origins of some of today’s folk music idioms and explore rich intersections of sound, material culture, and social practice.

Prerequisite(s): Undergraduates need to have successfully completed 2 out of the following courses in order to register: PY.610.321, PY.610.322, PY.610.323, PY.610.324, PY.610.325, PY.610.326, PY.610.327;Graduate students must meet musicology seminar proficiency requirements in order to enroll in this course.

Distribution Area: P, Y

This course centers on musicological inquiry and trains you to frame, scope, and plan an original study. Students survey key methods, including historical, analytical, textual, critical, public musicological, and interdisciplinary. Students also practice advanced research skills: systematic searching, source evaluation, data management, and synthesis using core tools, such as citation managers, discipline databases, thematic catalogs, scores, and recordings. Guided workshops and consultations move students from exploratory mapping and focused questions to evidence-based argumentation. By the end of the course, students define a research question for their thesis prospectus (MM) or research paper topic proposal defense (DMA), produce an annotated bibliography, and draft research abstract. 2.0 credits

Prerequisite(s): Graduates need to have successfully completed Musicology Colloquium (PY.610.847), or be a Musicology major

An introduction to methods of research through independent written projects in music history. Required of all musicology majors.

An introduction to methods of research through independent written projects in music history. Required of all musicology majors. Fall and spring.

A scholarly work written under the supervision of a member of the musicology faculty. Required for the Master’s degree in Musicology. Fall and spring.

A study of an original musical topic, approved by the DMA Committee, culminating in the completion and defense of a scholarly work written under supervision of the student’s academic advisor. Graded on a S/U basis.

A study of a specific musical topic, approved by the DMA Committee and suitable as the basis for a lecture-recital, culminating in a written paper and a public lecture-recital. Fall and spring. Graded on a S/U basis.

For graduate students working with a faculty member to complete a dissertation or a lecture-recital essay. Registration required each semester following completion of coursework in order to maintain active status in the program.

For graduate students working to complete a dissertation or a lecture-recital essay. Registration is required each semester following completion of coursework in order to maintain active status in the program. Fall and spring.

An introduction to doctoral-level academic study at Peabody. Emphasis is on critical thinking, argument from sources, and written and oral presentations. The course features presentations from invited speakers. Open to DMA and MM Musicology students only. Lectures are open to the general public.

Distribution Area: P, Y

The study of voice leading, melody, figured bass, and diatonic harmony, through analysis and composition. Open to undergraduates only.

Distribution Area: P, Y

This course is a continuation of techniques learned in Theory 1. Students will study diatonic harmony, cadences, tonicization and modulation, non-chord tones and figuration, sequence, and the tonal phrase model. Open to undergraduates only. 3 credits.

Prerequisite(s): Previous course, Theory 1, needed, PY.710.111[C]

Distribution Area: P, Y

This course begins with a reinforcement of chromatic part-writing and voice-leading, and then focuses on two- and three-voice counterpoint in the Baroque style. Placement by examination. Open to undergraduates only. This is a year long course. Must take both the fall and spring sections.

Prerequisite(s): Only Undergraduates who test into this course will be allowed to register.

Distribution Area: P, Y

This course is a continuation of techniques learned in Theory 2. Students will study chromatic harmony, Classical forms, and post-tonal analysis. Open to undergraduates only. 3 credits.

Prerequisite(s): Previous course needed, PY.710.112[C] OR PY.710.110[C]

Distribution Area: P, Y

This course is an introduction to Renaissance counterpoint and the musical practice of the late 16th century as exemplified by works of Palestrina, Lassus, Victoria, and Byrd. The course will cover topics in mode, consonance and dissonance, cantus firmus, counterpoint species, cadence, voice leading conventions, and canonic and free imitation.

Prerequisite(s): Students must have completed Theory 3 or Theory 1-3.

Distribution Area: P, Y

A study of the music of the late-19th through 21st centuries. Open to undergraduates only.

Prerequisite(s): Completion of previous course needed, PY.710.212[C] OR PY.710.214[C]

Distribution Area: P, Y

Students take one of several specially-designated electives. Open to undergraduates only.

Prerequisite(s): Completion of Theory 5 needed, PY.710.311[C]

Distribution Area: P, Y

Prerequisite(s): Previous course, Theory 3 (PY.710.211) or Theory 1-3 (PY.710.113) needed

Distribution Area: P, Y

Prerequisite(s): Previous course, Theory 3 (PY.710.211) or Accelerated Theory 1-3 (PY.710.113) needed

Distribution Area: P, Y

Prerequisite(s): Previous course, Theory 3 (PY.710.211) or Accelerated Theory 1-3 (PY.710.113) needed

Distribution Area: P, Y

Prerequisite(s): Previous course, Theory 3 (PY.710.211) or Accelerated Theory 1-3 (PY.710.113) needed

Distribution Area: P, Y

Prerequisite(s): Previous course, Theory 3 (PY.710.211) needed

Distribution Area: P, Y

Informed by theories of memory, semiotics, media technology, and narrative, this course will prepare students to critically investigate the sound and music in the movies we watch, the shows we stream, and the games we play. From neo-Riemannian Triadic Transformation Theory to Spectrographic analysis, students will acquire a range of linear and non-linear analytical techniques through hands-on analysis of cues, theme songs, interstitials, modular loops, stingers, and more.

Prerequisite(s): Completion of Theory 3 or Accelerated Theory 1-3 required

Distribution Area: P, Y

A course designed to introduce students to idiomatic writing for orchestral instruments, individually and in standard combinations. Lectures, listening, and score study will be complemented by arranging exercises. Open to Computer Music, Music Education, and Music for New Media majors (others by permission of the instructor). This class may not be used for graduate theory seminar credit.

Prerequisite(s): Open to Computer Music, Music Education, and Music for New Media majors only. Others may take course with permission of instructor.

Distribution Area: P, Y

A course for composers and conductors studying instrumental technique and ensemble combinations as demonstrated in orchestral literature, 1750 to the present. Open to conductors and composition majors only. Course must be taken for the entire school year. May not be used for graduate seminar credit.

Distribution Area: P, Y

A course for composers and conductors studying instrumental technique and ensemble combinations as demonstrated in orchestral literature, 1750 to the present. Open to conductors and composition majors only. Course must be taken for the entire school year. May not be used for graduate seminar credit.

Prerequisite(s): Completion of Orchestration 1 needed, PY.710.413[C].

Distribution Area: P, Y

An intensive review of the materials and techniques of tonal music, including diatonic and chromatic harmony, part writing, and analysis.

After completing the core sequence and taking two topics courses, students will enroll in a theory capstone practicum seminar. Each section of this course will be driven by analysis of the repertoire that enrolled students are performing and works of special interest that influence the composition and music for new media students’ own work. Students will take the knowledge and skills they have gleaned from the core and topics courses and apply it directly to their own creative practice.

Prerequisite(s): Successful completion of Theory 5

This course delves analytically into the music of Wolfgang Amadeus Mozart. We will cover a range of musical forms and genres, such as solo sonatas, concertos, chamber music, symphonies, and opera, though the focus will be on instrumental repertoire. In some cases, we will briefly examine other contemporary composers to better understand what sets Mozart apart and has made him so beloved. While it is not a performance practice class, we will discuss current understanding of certain performance practice issues during our study and engage with a range of recordings as well.

Prerequisite(s): Graduate students must meet music theory seminar proficiency requirements in order to enroll in this course. Undergraduates must be Composition or Computer Music majors.;Open to Composition, Computer Music, and Theory minor Undergraduate students; must first complete PY.710.212[C] or PY.710.214[C].

Distribution Area: P, Y