Music

This course examines music markets and the ongoing evolution of the music industry with a focus on the cultural and social influence of music, the changing perspective of music consumers, and the role of artists and producers. Students learn about varying debates and models within the music industry, the interaction of music with other media, and the intersection of traditional music forms (radio, records, and concerts) with new technologies such as on-line audio streaming. The course examines the importance and economic contribution of popular and alternative music festivals. Utilizing the city as a field site for study, this course encourages students to engage with a range of music performances and events. The course uses a dynamic mix of lectures, case study discussions, student presentations, and a field trip to a local music label.

This is an independent research course with research arranged between the student and faculty member. The specific research topics vary each term and are described on a special project form for each student. A substantial paper is required. The number of units varies with the student’s project, contact hours, and method of assessment, as defined on the student’s special study project form.

The field of popular music studies borrows from a diverse range of perspectives and disciplines, including history, sociology, musicology, ethnomusicology, communications, and cultural studies, among many others. This course examines a selection of these approaches by bringing together a variety of topics, touching upon taste, genres, institutions, and technologies, as well as cultural politics and identity politics as they relate to the study of popular music.

An introduction to the history of jazz, this course also increases one's understanding of and appreciation for jazz music. As Jazz music has stylistically changed over the last 100 years, this course looks at the history of jazz from the beginning of jazz to the multiple styles predominant in jazz today. 

This course focuses on art music (so-called "classical music") in Western culture, covering composers and works that are considered important in music history. Through a chronological discussion of "masterpieces" and an overview of music history, an understanding of the life of each composer and the background of the piece fosters an understanding of why they are called "masterpieces." 

For this excursion-based course, we will visit the Museum of Modern Electronic Music (MOMEN), considering questions around legacy,  historiography, and representation in the telling of electronic dance music’s histories. We will also avail ourselves of experiential opportunities on offer at the museum, such as DJ workshops and artist talks. In addition, we will visit the Robert Johnson nightclub in nearby Offenbach, which will afford firsthand experience as well as an opportunity to think about nightlife ethnography. In the seminar leading up to the excursion, we will explore the histories of German popular electronic music and Detroit techno, discuss nightlife fieldwork, and consider what might happen when museums and electronic music meet.

This course traces the history and evolution of rock and roll music and culture, from its inception in the 1950s to 1990s. It examines its artistic content and cultural, social and global roles, serving to develop general intellectual capacities of popular culture. The course studies the origin, development, and growth of rock and roll music from a variety of perspectives (e.g. social, cultural, global, technological and commercial standpoints) and discuss specific trends, styles, and issues related to the music industry. By evaluating rock history during its most fruitful years, the course seeks an understanding of what rock music is and its relationship to global popular culture, historical representation, and other media industries. The course covers American rock and roll and British, Scandinavian, and world music to a certain extent.  

In this course, students engage with fundamental principles of sound creation and manipulation though exploration of sound design practices in a range of contexts including game sound, virtual reality and other interactive media, film, TV, radio, theater, and live sound applications. By examining the work of influential sound design practitioners, students explore sound design methodologies and techniques. This includes field recording, synthesis, multichannel spatialization, Foley, and the manipulation of sound recordings using DAWs and analog recording devices to achieve a desired aesthetic.

As a global conflict impacting society and culture, the Cold War poses a unique challenge for Musical historiography. While historians concentrate on the „superpowers“, the USA and the Soviet Union, the developing field of Cold War studies is emphasising the importance of smaller countries caught between west and east governments. With this expansion and new focus of our perspective, we are revising and pluralising our historiographical methods to make the dynamic national/historical borders of the Cold War more visible. The course uses the approach of political musical history to conceptualise the era. At the same time we also study broader Cold War history and new perspectives on national/international musical historiography.