The School of Music, Theatre, & Dance at the University of Michigan forms part of a major research university with strong programs in the humanities and social sciences, providing a rich environment for graduate study in historical musicology and ethnomusicology with an internationally renowned faculty. The musicology faculty at Michigan is diverse in its research practices and intellectual orientations, embracing many methods of inquiry, from source studies, archival research, musical historiography, cultural history, and ethnography, to critical theoretical studies in music and gender, identity, and race.
The wealth of intellectual and institutional resources at Michigan encourages students to design robust yet flexible plans of study, while cultivating individual interests and opening new fields of investigation. The many vibrant interdisciplinary centers on campus (see links below) and cross-disciplinary collaborations among faculty members invite our students to broaden and deepen their study of music through interaction with scholars in other fields. The excellent performing ensembles on campus offer invaluable opportunities to perform and listen to the repertories and musical traditions that are central to their scholarly work.
The Department of Musicology trains its students to become tomorrow’s leading scholars and teachers in their fields of specialization, contributing to the global understanding of culture, history, and society. Financial support and teaching fellowships are available to graduate students for a total of 10 academic terms from the School of Music, Theatre, & Dance, the Horace H. Rackham School of Graduate Studies, and other sources. The musicology faculty and the institutional and creative resources available at the University of Michigan have launched the successful careers of generations of graduates in academic departments across the country.
Established in 1948, as part of the University of Michigan's Rackham School of Graduate Studies, the musicology program developed through the 1950s under the leadership of Louise E. Cuyler and Raymond Kendall, with a faculty that included Hans T. David, H. Wiley Hitchcock, and Gordon Sutherland. In 1954, the university acquired the library of Belgian musicologist and collector Jean-August Stellfeld, whose 20,000 volumes, including rare prints, did much to provide a basis for the scholarly study of European music from the sixteenth century on.
During the 1960s, Glenn Watkins, Albert Cohen, and William P. Malm joined the musicology faculty, the latter introducing the study of ethnomusicology to the graduate program. In 1974, the musicology department merged with the School of Music, Theatre & Dance's department of music history, which in earlier years had served only undergraduate and master's students. That merger brought Richard Crawford, Judith Becker, David E. Crawford, R. John Wiley, Gwynn McPeek, and William J. Weichlein, among others, into an expanded department with students at all points on the academic spectrum. In the 1980s, James M. Borders and Louise K. Stein joined the department. During the 1990s, Joseph S. C. Lam, Lester P. Monts, Amy Stillman, and Steven M. Whiting were added, while more recently, the faculty ranks have been complemented by the addition of Christi-Anne Castro, Mark Clague, Jane Fulcher, Jason Geary, Charles Garrett, Stefano Mengozzi, and Meilu Ho.
Since the 1970s, the musicology program, as part of a major public university with a powerful music-making tradition (including a vigorous composition department), has graduated students with specialties in European music of several eras, American music of many stripes, and performance traditions from various parts of the world.
Amy Stillman (American Cultures)
Susan Walton (gamelan)
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