Music History
Music History I
MHS 101–102; 3 s.h./term
The history of Western music from its origins in Ancient Greece to the beginning of the twentieth century, covering the political, social, and religious trends that influence and shape music from one era to the next. Examines the development of musical styles, genres, compositional procedures, historical performance issues and practices, and their relevance to other eras. A general survey of major composers, the lives of important historical figures, and some of the great works in Western music history.
Music History II
MHS 201–202; 2 s.h./term
An examination of the trends and ideas that shaped music from the beginning of the twentieth century to the present. Students will explore this development through a chronological study of the composers, as well as through the creation of their own works employing different compositional techniques of the era.
Music History Seminars
MHS 301–302; 2 s.h./term
Bachelor of Music candidates are required to take at least two seminars over the course of their third and fourth years. Enrollment is limited to twelve students per seminar class, and students are encouraged to fulfill this requirement beginning in their third year. Please see course descriptions below for further information.
Philadelphia Composers (Fall)
Explores the lives and works of composers connected to Curtis and Philadelphia, featuring an examination of Ned Rorem's diaries, memories, and essays on music. Other composers covered include Bernstein, Barber, Mennoti, and Crumb, amongst others.
History of The Philadelphia Orchestra (Fall)
An in-depth study of the history of The Philadelphia Orchestra, from its founding by Fritz Scheel in 1900 through its successive conductors (Pohlig, Stokowski, Ormandy, Muti, Sawallisch, Eschenbach, the Dutoit interregnum, and now, Yannick Nézet-Séguin). Special attention will be paid to The Philadelphia Orchestra's relationship with Curtis Institute, including its role in the creation of the school. The course begins with a look at early attempts to create permanent ensembles in this country, and explores the burning issue of how to keep these ensembles alive in a difficult century for the serious performing arts.
The Master Builders (Spring)
Henrik Ibsen, Johannes Brahms, and Paul Cézanne. Three great artists – a playwright, a composer, and a painter – all heirs to the High Romantic tradition and born within eleven years of each other, were classicists in their approach to form and exercised much influence on the development of their respective arts in the twentieth century. Includes a focus on the Symphonies of Brahms.
History of Opera For Non-Majors (Spring)
Follows the course of this most exotic art-form from its beginnings in Italy at the end of the sixteenth century to the present day, with a focus on some of its most significant works and their creators. Practical aspects will also be covered: How were operas contracted, written, and produced in the past, and how are these things done today? How has the balance shifted among opera’s various elements – singers, orchestra, conductor, staging, set design, etc.? What do audiences of the past and present expect to see and hear in the opera house? These questions and more are explored using sound recordings of historic performers and video recordings of some of today’s most respected artists.
KEY TO THE COURSE LIST
Odd-numbered courses generally meet in the fall and even-numbered courses meet in the spring.
The designations "s.h." (semester hours) and "g.c." (graduate credits) indicate credit-hours given per term for undergraduate and graduate courses, respectively.
Yearlong, two-semester courses are designated by hyphenated course numbers. Students must successfully complete both semesters of required yearlong courses to satisfy the graduation requirement.
The symbol * indicates a course that is not offered every year.
