Filtered HSS Courses (2026-27)
History and Theory of 20th-Century Music
This course surveys significant developments in classical music of the 20th century. From the impressionism of Debussy and Ravel at the beginning of the century to the minimalism of Steve Reich and Philip Glass at the end, we will study how 20th-century composers sought to create new ways of constructing music, often trying to distance themselves from the traditions of the past. We will explore specific compositional techniques that produced strikingly new sounds and styles, as well as the intellectual and historical contexts that shaped their development. Course activities include reading, listening, musical analysis, and guided composition. Not offered 2026-2027.
Fundamentals of Music Theory
This skills-based course introduces students to the fundamentals of Western music theory. Considering a broad range of musical styles, we will explore the basic structures and relationships that have shaped music in the West through past centuries and into the present day. Through analysis, listening, practical exercises, and creative projects, we will gain fluency with the materials of music and develop a strong musical vocabulary. With these skills, we will be able to consider how different kinds of music are constructed and what makes them sound the way they do. Major topics for study include music notation, rhythm and meter, scales and tonality, intervals, triads and seventh chords, and basic harmonic relationships. This class is suitable for students with little or no musical background, or for students with a performance background but no prior experience with music theory. Students do not need to be able to read music before taking this class.
Music Theory I
This course introduces the language and structure of tonal music, from the most basic musical phrase to the form of short pieces. Through this study, we will learn how harmonic relationships can create the sensation of movement, surprise, tension, or rest within a musical phrase, and we will especially consider how composers have used those tendencies to expressive effect. Course activities encompass both written work and aural skills: students will work with theoretical concepts through singing and aural analysis and well as through written analysis and composition exercises.
Music Theory II
This course builds on the frameworks developed in Mu 58 to explore elements of chromatic harmony in tonal music. Beginning with tonicization and modulation, we will develop the skills we need to analyze large musical forms, such as complete symphony or sonata movements. We will also delve into the harmonic language of the Romantic era and seek to understand the chromatic techniques that make this repertoire so colorful and expressive. Course activities include written and aural analysis, short composition exercises, and a final composition project.
History of the Piano
Throughout its history, the piano has occupied a somewhat contradictory role as both a complex machine and an expressive musical instrument. Initially developed in response to a musical desire for greater expressive potential in keyboard instruments, the piano has at other times been derided as a merely mechanical vehicle for unmusical displays of virtuosity. This course examines the complicated history of the piano from its invention around 1700 through the later-20th century. We will explore the technological evolution of the instrument itself alongside its changing social roles, and seek to understand how these factors influenced the development of piano techniques and repertoire at various points in history. Considering specific works for the piano, individual pianists of the past, and broader cultures of pianism, we will engage with core questions of gender and musicality, virtuosity and musical expression, amateurism and professionalism, and musical composition. This course is suitable for both students who have a musical background and those who do not.
Music and Storytelling
Musicians and listeners have long been fascinated by the potential for music to portray something outside of itself: to tell a story, paint a picture, or suggest a narrative without using words. This course explores ways that composers have tried to express specific ideas through sound at various points in history. We will investigate the musical techniques composers have used in these efforts, as well as a variety of theories from the past and present about music and meaning. We will also consider the role of listener interpretation, including instances where listeners-perhaps even ourselves-have perceived stories and images in music that the composer did not intend. Music for study is drawn from historical eras ranging from the Renaissance to the present. Not offered 2026-2027.
The Concerto Through History
This course traces the history of the concerto genre, beginning with its origins in the late Renaissance and continuing into the 20th century. We will investigate how the form and structure of the concerto has changed over time, evolutions in the role of the concerto soloist, and the variety of functions the concerto has played in concert culture. We will consider individual concertos through musical analysis, as well as theoretical writings on concerto composition and historical records related to concerto performance. Students will be encouraged to nominate their favorite concertos for study in class.
Music in the Middle Ages and Renaissance
This course surveys European music in the Middle Ages and Renaissance, from the origins of Western musical notation to the intricate and complex works of the late-sixteenth century. We will investigate how musicians across this era conceptualized, wrote, and performed music, considering how these early innovations laid the groundwork for music in centuries to come. We will also explore how developments in musical style were often mediated by political and religious pressures as well as aesthetic concerns. Course activities center around listening, analysis of primary sources, and writing about music.
Music in the Baroque Era
This course surveys European music in the seventeenth and early-eighteenth centuries, beginning with the first experiments in opera and culminating in the works of Handel, Vivaldi, and J.S. Bach. In this era we will consider how musicians pioneered new genres, created a repertoire of instrumental music, and sought new ways to excite emotion in their listeners. We will also explore the complexities of how musicians worked and made a living during this period, as well as the many external forces that shaped the music they made. Course activities center around listening, analysis of primary sources, and writing about music. Not offered 2026-27.
Music in the Eighteenth Century
This course surveys European music of the eighteenth century, from the sons of J.S. Bach to the most prominent composers of the Classical style: Haydn, Mozart, and Beethoven. Across this era we will trace the evolution of major musical genres, including the symphony, string quartet, sonata, concerto, and opera. We will explore how Enlightenment values shaped the musical styles of this century, and how economic changes impacted both concert culture and career options for musicians. Course activities center around listening, analysis of primary sources, and writing about music. Not offered 2026-27.
Music in the Nineteenth Century
This course surveys music of the nineteenth century in Europe and America, from the last years of Beethoven’s career into the early days of sound recording. We will explore how composers sought extremes of emotional expression and meaning in music, just as performers pursued greater heights of technical display and audiences listened with a new depth of attention. We will also trace the emergence in this century of musical figures and institutions still familiar in the present day, including professional symphony orchestras, touring soloists, conservatories, chamber music societies, and music critics. Course activities center around listening, analysis of primary sources, and writing about music. Not offered 2026-27.
Music in the Twentieth Century
This course surveys significant developments in classical music of the twentieth century. From the impressionism of Debussy and Ravel at the beginning of the century to the minimalism of Steve Reich and Philip Glass at the end, we will study how composers sought to create new ways of constructing music, often trying to distance themselves from the traditions of the past. We will explore the compositional techniques that produced strikingly new sounds and styles, as well as the intellectual and historical contexts that shaped their development. Course activities center around listening, analysis of primary sources, and writing about music. Not offered 2026-27.
Special Topics in Music
An advanced humanities course on a special topic in music. Topics may include specific genres of music, the music of particular eras or geographical regions, or the relationship between music and other aspects of culture. The course may be re-taken for credit except as noted in the course announcement. See registrar's announcement for details.