All graduate level courses concentrate on specialized topics determined by the faculty rather than comprise general topics.
MSG 517 Tonal Music Topics and Analysis
This is a course concentrating on musical analysis of tonal music in the broadest sense, covering examples from the 17th century to the first decades of the 20th century. The main objective is to consider different analytical methods of musical analysis of tonal music, emphasizing introductory studies on Schenkerian and Riemannian approaches.
MSG 717 Theoretical Studies in Post Tonal Music
This is a course concentrating on musical analysis of post-tonal music from the first half of the 20th century, introducing concepts such as set theory, serialism, centricity and modality.
MSG 537 Studies in History of Western Music
This is a course focusing on evolution of different musical genres through the history. Discussion on the genesis, development and contemporary applications of the specific genres.
Syllabus MSG 537
MSG 737 Contextual Perspectives in History of Western Music
This is a course that covers a variety music history topics through political, philosophical, cultural and aesthetical contexts. Discussions on various debates on different contextual perspectives.
MSG 802 Theoretical Studies in Tonal Music, 3 credits
Analysis of music from the tonal repertoire by emphasis on structural aspects of each individual work. With discussions focusing on different analytical perspectives such as formalist methods, hermeneutics, phenomenology, Neo-Riemannian and cultural studies.
MSG 804 History of Tonal Theory, 3 credits
From Rameau to beyond: This course will examine different scale-degree and functional approaches to tonal harmony, discussion of seminal theoretical texts (Rameau, Choron, Fetis, Sechter, Riemann, Schenker etc.), we will work on comparative music analyses to explore different conceptions of harmonic space and their limits.
MSG 806 Introduction to Schenkerian Analysis, 3 credits
This course provides an introduction to the theories and analytical methods of Heinrich Schenker and his followers through the analysis of selected works.
MSG 808 New Music Topics and Analysis, 3 credits
Music from 1900 and onwards in an holistic perspective that encompasses broad analytical, structural and cultural aspects of music.
MSG 810 Perspectives in Musical Analysis, 3 credits
This is an advanced analysis class focusing on three much analyzed works from the repertoire: Eroica Symphony, Tristan Prelude and Rite of Spring. We will look at the analytical literature for each piece and discuss different theoretical perspectives developed about these pieces throughout the history.
MSG 812 Music of the Last Decade, 3 credits
This is a seminar course concentrating on music that is written in the last ten years. The goal of the course is to contextualize recent trends in composition and develop a framework necessary to understand and analyze representative examples from this period.
MSG 814 Opera in the 20th Century, 3 credits
This is a seminar course examining the 20th century opera repertoire. We will investigate how the opera genre has transformed in the 20th century by looking at works like Pelléas et Mélisande, Bluebeard’s Castle, Lulu, Saint François d’Assise, Le Grand Macabre, Einstein on the Beach, Punch and Judy. We will specifically investigate the conventions that the modern composers have inherited from the past, to reject or re-embrace.
MSG 816 Late Modernism and the Concerto, 3 credits
This seminar will examine concerto genre in the late modernist music. The course will focus on five major composers who have shown interest in the genre: Ligeti, Xenakis, Carter, Lachenmann and Birtwistle. While analysis of individual pieces will constitute part of the class, we will also bear on some general concepts such as virtuosity, accompaniment, role of soloist(s), customized orchestra, formal strategies etc…
MSG 818 Quotation, Transcription and Musical Recycling, 3 credits
Writing music on pre-existing material has always been an important concept for composers. In this course we will examine the ways musicians have engaged and used existing musical materials. We will discuss various compositional, aesthetics, cultural and even ethical implications of such methods. The main focus of the course will be the 20th century repertoire, we will nevertheless investigate the previous historical approaches as well.
MSG 820 Microtonality, 3 credits
An in-depth investigation of different microtonal usages and techniques in composition. Topics will range from just intonation to different types of extended equal temperaments. We will also examine different practical strategies developed by composers in writing microtonal music. Each student will compose a piece using techniques covered in class.
MSG 822 Interactive Music, 3 credits
Intensive work on live signal processing. We will work exclusively with Max/MSP and investigate possible ways of interaction between instruments and electronics. Each student will compose a live interactive piece involving computers and acoustic instruments.
MSG 824 Algorithmic and Computer Assisted Composition, 3 credits
This course is about different methods of algorithmic composition and ways to create them using computers. We will investigate how music technology can enhance and develop the musical ideas of composers, focusing on the creative processes involved in algorithmic and computer-assisted composition. We will examine works by Cage, Xenakis, Ferneyhough and Murail. We will work exclusively with software such as Audiosculpt and Open Music. Each student will compose a piece using the methods covered in the class.
MSG 826 Spectral Music, 3 credits
The exploration of timbre became increasingly significant throughout the 20th century, with some composers making it the essence of their music. This course will investigate these different approaches to timbre in composition. It will include but not limited to the French Spectral movement. It will also teach necessary technical skills to work in these kind of style. Each student will write a piece of music using skills and techniques acquired during class.
MSG 828 Complexity Versus Simplicity, 3 credits
20th century music has seen the most extremes both in simplicity and complexity. This course aims to question rationale behind these stylistic developments. We will look at the aesthetic and cultural dynamics behind different styles such as minimalism, new simplicity, 60s avant-garde and new complexity. We will compare and contrast each trend and study representative works.
MSG 830 Visions of Messiaen, 3 credits
Traité de Rythme, de Couleur, et d’Ornithologie, a compilation of Messiaen’s writings in 7 volumes that takes the center stage of course, is thought of as being the summa summarum regarding his creative, theoretical and religious Weltanschaaung. Course contents are designed each semester anew including certain passages of the Traité and a selection of related music works by him and/or others, taking into account the diverse output of some Messiaen scholars –active in English, French and German speaking worlds– like Siglind Bruhn, Peter Hill and Paul Griffiths.
MSG 832 Symphony after Beethoven, 3 credits
Beethoven’s 9th symphony, from its very first performance on, leads to a complicated reception history. Some major reactions, early and after, can be cited as follows: crisis of symphony in the German speaking culture domain, Berlioz’s symphonie fantastique and Liszt’s 12 poèmes symphoniques, drame lyrique of Wagner –who considers himself as being brought to “the other side of the red sea” through Beethoven–, music-esthetic considerations like Brendel’s Zukunftsmusik and the schism among absolute and programmatic music according to Hanslick, monumental symphonies by Bruckner and Mahler, symphonists and reactions to symphonic forms during the 20th century etc. Essayistic involvement in German and French by some 19th century composers like Schumann, Liszt, Wagner and Berlioz deserves a special attention regarding the problematic. Topics, readings and work selection of course are refreshed as per the specific phenomenon im Visier of current semester.
MSG 834 With or without Wagner?, 3 credits
Stage music after Tristan to our day. An all-embracing historical discourse on the 19th century music disregarding the impact of Wagner’s Tristan und Isolde is hard to imagine. Wagner himself, his contemporaries, and following composer generations involved with stage music have thenceforth to grapple with that work and its reception. The design of course regards Wagner’s output, before all, as a socio historical demarcation line in the framework of the genre and takes each semester a different single opera or music theater work in hand, or, in some cases, a group of works clustered around a single thematic and/or problematic.
MSG 836 Chamber music, 3 credits
Chamber music course of various epochs and genres, vocal and/or instrumental styles deals with chamber music and its various aspects with respect to varied criteria. Selection of music works to be considered depends on genre and/or form, Besetzung, epoch, style, or (a group of) composer(s).
MSG 838 The Genre of Concerto, 3 credits
Dynamics of the dispute among individual and community. Course deals with the genre concerto and its various aspects, each semester with respect to different criteria. Selection of music works to be considered depends on soloist instrument(s) and/or accompanying Besetzung, epoch, style, or (a group of) composer(s).
MSG 840 Thought, Music and Arts, 3 credits
As a cross and interdisciplinary undertaking the course undertakes to construct links among music and extra-musical domains of thought, the latter dealing with music or not, such as ethics, aesthetics, philosophy, sociology, psychology, cultural studies, gender studies, political sciences, literature and theory of literature, film theory, domains of theoretical and/or practical occupation with arts other than music etc. Each semester, topics, readings and work selection of course are refreshed as per the specific phenomenon im Visier that may not be merely restricted to the western culture domain and/or to “classical music” at all. In that respect diverse fields of music –e.g. Classical Turkish Music, Jazz, progressive rock etc.– can also be imaginable as main course content. Non-faculty participants are also welcome except in cases, corresponding to the theme span of current semester, where a professional education in music and/or experience in musical practice is a must. Interested non-faculty students should contact the instructor.
MSG 842 The West and The Rest, 3 credits
Course problematizes the activity of the exterritorial composer. It can be asserted that the western serious music has established itself as the main reference point for other musical domains, peu à peu, after the french revolution. Course attempts to problematize the self-styled and auto-centralizing qualities of western thought of music on the one hand and discourses of identity of the non-western composers on the other. Considerations of generally extra-musical fields of contemporary social thought and of diverse authors such as Lévinas, Adorno, Derrida, Deleuze, oriental and colonial studies, cultural and gender studies etc. are vital part of course. On the empirical side presents New Turkish Music the main subject matter to be tackled.
MSG 844 Aleatory in Music, 3 credits
A in-depth investigation of various strategies of openness in musi: between composer and the score, the score and the performer, the performer and the result, the result and the listener. Topics will include but limited to chanceoperations and indeterminacy of New York School composers, aleatory in Darmstadt School, various improvisational techniques and alternative notation systems.