Courses of Musicology at University Of California Los Angeles
Musicology Courses
Graduate Courses
200A. Introduction to Music Scholarship (6)
Seminar, three hours. Designed for graduate musicology, ethnomusicology, and music students. Survey of general bibliographic material in music and introduction to discipline. Letter grading.
200B. Historiography and Cultural Theory (6)
Seminar, three hours. Designed for graduate musicology, ethnomusicology, and music students. Critical examination of principles and procedures that inform historical study of music, with emphasis on impact of recent cultural theory. Letter grading.
200C. Analysis and Criticism (6)
Seminar, three hours. Designed for graduate musicology, ethnomusicology, and music students. Introduction to recent developments in field of musicology, with focus on problems of how music operates as cultural practice and how musical meanings can most effectively be analyzed and written about. Letter grading.
M201. Repertory and Analysis (2)
(Formerly numbered 201.) (Same as Music M201.) Seminar, two hours. Requisite or corequisite: course 200A. Exploration of defined repertory through readings and analysis. Specific topics vary. May be repeated for credit. S/U grading.
202. Journal Club (2)
Seminar, two hours. Requisite or corequisite: course 200A. Exploration of issues in musicology through readings and discussions of current literature. Specific topics vary. May be repeated for credit. S/U grading.
210. Medieval Notation (4)
Seminar, three hours. Vocal and instrumental notation; paleography of period. S/U or letter grading.
211. Renaissance Notation (4)
Seminar, three hours. Vocal and instrumental notation; paleography of period. S/U or letter grading.
220. Divine Love in 17th-Century Music (4)
Seminar, three hours. Designed for graduate students. During 17th-century Counter-Reformation, many artists drew on concepts of divine love and mystical ecstasy to instill personal devotion among religious practitioners. Examination of often profoundly erotic music composed for spiritual purposes within this cultural context. Letter grading.
221. Nationalism in Music (4)
Seminar, three hours. Designed for graduate students. Investigation of musical nationalism in 19th-century Europe, beginning with its roots in political nationalism and German Romanticism. Reconsideration of its traditional placement as peripheral late-19th-century phenomenon and exploration of its pervasive influence throughout century. Letter grading.
222. Music of Guillaume Dufay (4)
Seminar, three hours. Designed for graduate musicology students. Through study of Dufay’s life and music, students become familiar with those scholarly methods specifically pertinent for study of early music in general and Dufay’s music in particular and extend their analysis and interpretation of Dufay’s music and 15th-century musical culture. Letter grading.
223. Cuban Vanguardism (4)
Seminar, three hours. Designed for graduate musicology students. Exploration of Cuban racial and national politics and ideology as they intersect with musical vanguardism in Cuba between 1910 and 1940. Afrocubanismo and modernism within Cuba, with specific concentration on composers Alejandro Garcia Caturio and Amadeo Roldan. Cuban vanguardists in 1920s struggled with national identity which they sought to solidify or represent in their music by drawing on “folk” traditions consisting of mix of European, African, and indigenous influences. Exploration of theoretical debates, selected traditions of Afrocuban dance and music, popular musics in Cuba, vanguard scores, and Afrocubanism movement in literature. Letter grading.
224. Wagner’s Parsifal (4)
Seminar, three hours. Examination of Wagner’s place in intellectual and spiritual worlds of that culture through detailed consideration of Wagner’s final work, “Parsifal.” Problematic with respect to musical language, genre designation, and dramatic action, “Parsifal” exemplifies and establishes concepts and modes of feeling that remain crucial to 20th-century culture as well. Exploration of these issues through close reading of musical text as well as examination of astoundingly rich body of commentary surrounding the work. Letter grading.
225. Experimental Music (4)
Seminar, three hours. Designed for graduate students. Exploration of wide range of post-1960 musical styles characterized as experimental, both in cultivated and vernacular traditions. Composers may include Cage, Young, Reich, Riley, Adams, Andriessen, Bryars, Eno, Nancarrow, Velvet Underground, Negativland, Sonic Youth. Letter grading.
240. Topics in Jazz (4)
Seminar, three hours. Designed for graduate students. Seminar in jazz history, with focus on major figure (e.g., Louis Armstrong, Duke Ellington) or issue (e.g., cultural hierarchy, jazz outside the U.S.). Intensive research on important topic in jazz studies. Letter grading.
250A. Seminar: History of Music Theory (4)
Seminar, three hours. Requisite: course 200A. Course 250A is not requisite to 250B. Investigation of principal theoretical writings concerning music from antiquity through Zarlino. S/U or letter grading.
250B. Seminar: History of Music Theory (4)
Seminar, three hours. Requisite: course 200A. Course 250A is not requisite to 250B. Investigation of principal theoretical writings concerning music from Rameau to present. S/U or letter grading.
254. Structure and Interpretation of Music (4)
Seminar, three hours. Requisite: course 200C. Critical survey of recent music theory and its analytical methods for musicologists. Questions of analysis and value judgment, formalism and autonomy, popular and vernacular musics, cultural versus musical theory, hermeneutic risks and (im)proprieties. Individual students work practically and in depth on specific analytic problems most relevant to their interests. Letter grading.
256. Seminar: Musical Form (4)
Seminar, three hours. Requisites: courses 126A, 126B, 126C. Analysis of structural organizations in music. Specific topics vary from year to year. S/U or letter grading.
257. Music of U.S. (4)
Seminar, three hours. Designed for graduate students. Examination of principal figures and trends in music of U.S. since 18th century. Letter grading.
260A. Seminar: Historical Musicology — Medieval (4)
Seminar, three hours. Requisite or corequisite: course 200A. Specific topics vary from year to year. May be repeated for credit. Meets with course 265A; concurrent enrollment in both courses not allowed. Letter grading.
260B. Seminar: Historical Musicology — Renaissance (4)
Seminar, three hours. Requisite or corequisite: course 200A. Specific topics vary from year to year. May be repeated for credit. Meets with course 265B; concurrent enrollment in both courses not allowed. Letter grading.
260C. Seminar: Historical Musicology — Baroque (4)
Seminar, three hours. Requisite or corequisite: course 200A. Specific topics vary from year to year. May be repeated for credit. Meets with course 265C; concurrent enrollment in both courses not allowed. Letter grading.
260D. Seminar: Historical Musicology — Classical (4)
Seminar, three hours. Requisite or corequisite: course 200A. Specific topics vary from year to year. May be repeated for credit. Meets with course 265D; concurrent enrollment in both courses not allowed. Letter grading.
260E. Seminar: Historical Musicology — Romantic (4)
Seminar, three hours. Requisite or corequisite: course 200A. Specific topics vary from year to year. May be repeated for credit. Meets with course 265E; concurrent enrollment in both courses not allowed. Letter grading.
260F. Seminar: Historical Musicology — 20th Century (6)
Seminar, three hours. Requisite or corequisite: course 200A. Specific topics vary from year to year. May be repeated for credit. Meets with course 265F; concurrent enrollment in both courses not allowed. Letter grading.
260G. Seminar: Historical Musicology — Variable Topics (6)
Seminar, three hours. Requisite or corequisite: course 200A. Specific topics vary from year to year. May be repeated for credit. Meets with course 265G; concurrent enrollment in both courses not allowed. Letter grading.
261A. Performance Practices: Medieval (4)
Seminar, three hours. Designed for graduate students. Investigation of primary source readings in performance practices as related to period; analytical reports and practical applications in class demonstrations. May be repeated for credit. Letter grading.
261B. Performance Practices: Renaissance (4)
Seminar, three hours. Designed for graduate students. Investigation of primary source readings in performance practices as related to period; analytical reports and practical applications in class demonstrations. May be repeated for credit. Letter grading.
261C. Performance Practices: Baroque (4)
Seminar, three hours. Designed for graduate students. Investigation of primary source readings in performance practices as related to period; analytical reports and practical applications in class demonstrations. May be repeated for credit. Letter grading.
261D. Performance Practices: Classical (4)
Seminar, three hours. Designed for graduate students. Investigation of primary source readings in performance practices as related to period; analytical reports and practical applications in class demonstrations. May be repeated for credit. Letter grading.
261E. Performance Practices: Romantic (4)
Seminar, three hours. Designed for graduate students. Investigation of primary source readings in performance practices as related to period; analytical reports and practical applications in class demonstrations. May be repeated for credit. Letter grading.
261F. Performance Practices: Contemporary (4)
Seminar, three hours. Designed for graduate students. Investigation of primary source readings in performance practices as related to period; analytical reports and practical applications in class demonstrations. May be repeated for credit. Letter grading.
262. Contemporary Popular Music Studies (4)
Seminar, three hours. Prerequisite: graduate standing or consent of instructor. Critical exploration of methodologies of interdisciplinary field of popular music studies. Analysis of how music, lyrics, and visual images produce meanings within contexts shaped by mass mediation, capitalism, and political realities of gender, class, and race.
263. Topics in Performance (4)
Seminar, three hours. Designed for graduate students. Survey of role of performers and performance in Western music history. Critical understanding of (and set of tools for addressing) frequent invisibility or “transparency” of performance and performers in histories of music. Letter grading.
264. Seminar: Topics in Musicology (6)
Seminar, three hours. Designed for graduate students. Specific topics vary from term to term. May be repeated for credit.
265A. Seminar: Historical Musicology — Medieval (2)
Seminar, three hours. Requisite or corequisite: course 200A. Specific topics vary from year to year. May not be applied toward M.A. or Ph.D. degree requirements. May be repeated for credit. Meets with course 260A; concurrent enrollment in both courses not allowed. S/U grading.
265B. Seminar: Historical Musicology — Renaissance (2)
Seminar, three hours. Requisite or corequisite: course 200A. Specific topics vary from year to year. May not be applied toward M.A. or Ph.D. degree requirements. May be repeated for credit. Meets with course 260B; concurrent enrollment in both courses not allowed. S/U grading.
265C. Seminar: Historical Musicology — Baroque (2)
Seminar, three hours. Requisite or corequisite: course 200A. Specific topics vary from year to year. May not be applied toward M.A. or Ph.D. degree requirements. May be repeated for credit. Meets with course 260C; concurrent enrollment in both courses not allowed. S/U grading.
265D. Seminar: Historical Musicology — Classical (2)
Seminar, three hours. Requisite or corequisite: course 200A. Specific topics vary from year to year. May not be applied toward M.A. or Ph.D. degree requirements. May be repeated for credit. Meets with course 260D; concurrent enrollment in both courses not allowed. S/U grading.
265E. Seminar: Historical Musicology — Romantic (2)
Seminar, three hours. Requisite or corequisite: course 200A. Specific topics vary from year to year. May not be applied toward M.A. or Ph.D. degree requirements. May be repeated for credit. Meets with course 260E; concurrent enrollment in both courses not allowed. S/U grading.
265F. Seminar: Historical Musicology — 20th Century (2)
Seminar, three hours. Requisite or corequisite: course 200A. Specific topics vary from year to year. May not be applied toward M.A. or Ph.D. degree requirements. May be repeated for credit. Meets with course 260F; concurrent enrollment in both courses not allowed. S/U grading.
265G. Seminars: Historical Musicology — Variable Topics (2)
Seminar, three hours. Requisite or corequisite: course 200A. Specific topics vary from year to year. May not be applied toward M.A. or Ph.D. degree requirements. May be repeated for credit. Meets with course 260G; concurrent enrollment in both courses not allowed. S/U grading.
CM288. Music Industry (4)
(Same as Ethnomusicology CM288 and Music CM282.) Lecture, four hours; outside study, eight hours. Limited to Ethnomusicology, Music, and Musicology majors. Examination of influence of music industry on way music is created, performed, listened to, evaluated, and used today. Historical approach taken, beginning with music published in 18th century and continuing through development of audio recordings to MTV and popular music today. Concurrently scheduled with course CM186. Letter grading.
296. Research Topics in Musicology (2 to 4)
Seminar, two to four hours. Preparation: consultation with instructor. Designed for musicology graduate students. Advanced study and analysis of current topics in musicology. Discussion of current research and literature in research specialty of faculty member teaching course. May be repeated for credit. S/U grading.
298. Seminar: Research Methods (2)
Seminar, two hours. Limited to second-year musicology graduate students and students with master’s degrees. Development of advanced knowledge and bibliographic control in three historically separate areas of musicological specialization. May be repeated for credit. S/U grading.
299. Dissertation Research Colloquium (2)
Seminar, two hours. Preparation: advancement to Ph.D. candidacy. Presentation of ongoing dissertation research. Analysis and discussion of presentations. May be repeated for credit. S/U grading.
375. Teaching Apprentice Practicum (1 to 4)
Seminar, to be arranged. Preparation: apprentice personnel employment as teaching assistant, associate, or fellow. Teaching apprenticeship under active guidance and supervision of regular faculty member responsible for curriculum and instruction at UCLA. May be repeated for credit. S/U grading.
495. Introductory Practicum for Teaching Apprentices in Musicology (2)
Eight weekly two-hour seminar sessions, plus intensive training session during Fall Quarter registration week. Preparation: appointment as teaching apprentice in Music or Musicology Department. Required of all new teaching apprentices. Special course dealing with problems and practices of teaching music at college level. May not be applied toward degree requirements. S/U grading.
596. Directed Individual Studies in Musicology (2 to 6)
Tutorial, to be arranged. Limited to graduate students. S/U or letter grading.
597. Preparation for M.A. Comprehensive Examination or Ph.D. Qualifying Examinations (2 or 4)
Prerequisites: graduate standing, completion of all or course and language requirements. S/U grading.
599. Guidance of Ph.D. Dissertation (4 to 12)
Prerequisites: graduate standing, advancement to Ph.D. candidacy. May be repeated for credit. S/U grading.
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