Musicology and Music History

Programs

All undergraduate music majors enrolled in the BM program and graduate students pursuing Masters degrees in Music Theory, Music Education, and Music Performance take music history courses as part of their regular course of study.

Undergraduates

For undergraduates, the curriculum includes a two-semester history sequence. In this sequence, students will learn about the types of art music composed and performed throughout the history of written music, since approximately 900 CE. Students will also learn about the role of music in history, as it served as a kind of soundtrack to major cultural, political, and intellectual changes. A special emphasis in the history sequence will be placed on learning how to recognize and describe musical features that characterize different moments in time and different places where music is practiced. Students must successfully complete four semesters of music theory before beginning the music history sequence. (More specific information about the undergraduate majors can be found in the University Catalog.)

University Catalog - Undergraduate

Graduates

All graduate students take at least one musicology seminar. Seminars are offered every semester; Mr. Sean Morrison’s current seminar (Fall 2019) covers art song across a wide historical period. In Spring 2020, Dr. Sarno will offer a seminar on the Romantic period with a special focus on music’s relationship with the body, mind, and emotions. Additionally, students pursuing a Masters in Music Theory will take a seminar in research methods. (More specific information about Masters program requirements can be found in the University Catalog.)

University Catalog - Graduate

Students at the undergraduate or graduate level may elect to take more music history or musicology courses than the minimum requirement. Moreover, independent studies are also possible: current students are also enrolled in independent research courses with the faculty and serve as undergraduate research partners in association with UGRAP.

UGRAP

Faculty

Dr. Graham Hunt, Ph.D. Duke University

Department of Music

Associate Chair, Professor, Music Theory and Composition Area Coordinator

Area: Music Theory and Composition

Graham Hunt's Faculty Profile

Email: gghunt@uta.edu

Phone #: 817-272-2446

Office: FA 304

Bio: Graham Hunt is Professor of Musicology and Music Theory at the University of Texas at Arlington. He received his Ph.D. in Musicology from Duke University. He has published numerous peer-reviewed articles in music theory journals, including 2 articles in the most pre-eminent journal in the field of Music Theory, Music Theory Spectrum. He has also presented 5 times at the national meeting of the Society of Music Theory. He served as President of the Texas Society Music Theory from 2011-2014. He has given the keynote speech for the Oklahoma City University Theory Conference and has been a guest speaker at the Music Theory Lecture Series at the University of Massachusetts-Amherst and the University of Texas at Austin. He has published on subjects such as Wagner, Neo-Riemannian analysis, the Three-Key Exposition in Sonata forms, and, most recently, problematic rondo forms in Classical and 19th-Century finales, in journals such as Journal for Schenkerian Studies, Integral, Theory and Practice, 19th-Century Music Review, and Music Theory Spectrum. He was also selected to be the Grace and Joseph Valentine Visiting Professor at Amherst College (Massachusetts) in 2009. His latest research applies the groundbreaking theories of William Caplin, "Formal-Function Analysis," which was derived from the theories of Arnold Schoenberg to examine formal ambiguities that have previous defied traditional analytical interpretations, such as three-key expositions, truncated rondo forms, and opera arias, duets, and ensembles. Most recently, he was been invited to contribute a chapter to "Mozart Operas", a volume published by Leuven press, on Sonata forms in Mozart's operas, published an article in Music Analysis (published in the UK) on "Diverging Subordinate Themes" in sonata forms ranging from Scarlatti to Bruckner, and contributed a chapter to “Wagner studies” on formal functions of leitmotivs in Wagner’s opera Lohengrin. This November, he will present a paper on “Lesser, Redundant and Inconvenient Rondo Forms” at the national Society for Music Theory, which will be held virtually.