Music
General Information
The Department of Music at Carleton enrolls several hundred students every term, both majors and non-majors, in a curriculum that offers a diverse and integrated approach to the areas of performance, composition, theory, history, and ethnomusicology. Students arrive at Carleton with a wide range of musical backgrounds and abilities, and all are encouraged to broaden, deepen, enrich and improve their engagement with music. In addition to applied music-making experiences in our performing ensembles and private lessons, the Department offers an array of classroom courses that range from those designed specifically for the introductory level student to advanced seminars for majors.
Courses in Applied Music
All students, regardless of major, may study an instrument or voice at beginning through advanced levels, and may participate in the Department's musical ensembles by placement or audition. Registration for applied music lessons and ensembles must be included in the student's official registration.
There are several registration options for applied music lessons:
- a one-credit 100-level course, taken with or without the J (jury) designation
- a two-credit 200-level course, taken with or without the J (jury) designation
Courses with the J (jury) designation are graded, and include a small end-of-term jury performance for area faculty; students may elect to S/Cr/NC these courses in accordance with College guidelines. Courses without the J designation are mandatory S/Cr/NC. Permission of the instructor is required for registration for two credits.
The comprehensive fee does not include the cost of private instruction, and special fees are charged for applied lessons and some ensemble classes. Fees are not refundable for late drops except when a late drop is made for medical reasons or in similar emergency situations. In such cases, the student must consult with the Music Department.
Requirements for the Music Major
The Music Major introduces students to the primary subfields of music, developing the skills of research, analysis, performance, and the creation of original work. Broadly diverse in its coverage of styles, cultures, and fields, the Music Department provides students foundational knowledge in multiple modes of music study, but also offers students substantial freedom in crafting focus of courses relevant to individual interests. The skills in critical thinking, research, writing, and performance gained in the major have proven pertinent and applicable to alumni in a broad variety of fields. Students planning a professional career in music should consult with faculty members in their area for advice and assistance.
Requirements for the Music Major
Sixty-five credits, including:
- One 200- or 300-level course in Western Art Music (6 credits)
- One 200- or 300-level course in Ethnomusicology or Popular Music (6 credits)
- Composition (6 credits)
- Ensemble Participation (2 credits)
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- MUSC 185-195
- Juried Applied Lessons (4 credits)
- Any combination of juried applied lessons and MUSC 299 may fill this requirement. Composition 153J/253J does not satisfy this requirement
- 300-level Seminar (6 credits)
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- Any Music course numbered between Music 303 to Music 339, Inclusive note: a course which fulfills the seminar requirement may not be "double counted" toward other requirements, e.g., Western Art Music, Ethnomusicology, or Popular Music.
- Any Music course numbered between Music 303 to Music 339, Inclusive note: a course which fulfills the seminar requirement may not be "double counted" toward other requirements, e.g., Western Art Music, Ethnomusicology, or Popular Music.
- Music Electives (12 credits)
- Any MUSC credits, including Music classes and Cognitive Science 130, The Musical Mind, ensembles, chamber music, applied lessons, and MUSC 299
- Integrative exercise (6 credits)
Music Department Minors
The Music department offers three Music Minors:
- American Music Minor provides students with a framework for understanding the diverse music and musical cultures of America. This minor does not assume a traditional music background and does not require music theory.
- Music Minor is a flexible minor that allows students either a broad range of music study, or enables a focus on a particular area of musical inquiry.
- Music Performance Minor is for students who want to pursue excellence in musical performance with a focus in a particular instrument, voice, or performance area.
A student may major in Music and minor in Music Performance or American Music. Students will not be able to major and minor in Music and additionally cannot minor in both Music and Music Performance.
American Music Minor
The minor in American Music, brings together the most prominent strands of American music scholarship on campus. Taking its inspiration from the multidisciplinary approaches characteristic of this emerging field, the minor includes a gateway course surveying American musical history and genres; a foundational course from a field or interdisciplinary area offering a critical perspective on American culture; three courses offering in-depth study of musical traditions essential to the American soundscape and a capstone research seminar in which students pursue individual projects. No previous musical experience is required.
Requirements for the American Music Minor
Six courses are required.
- Gateway Course: 6 credits
- MUSC 126 America's Music
- Foundations: 6 credits
- AFST 113 Introduction to Africana Studies (not offered in 2021-22)
- AMST 115 Introduction to American Studies
- CAMS 110 Introduction to Cinema and Media Studies
- GWSS 110 Introduction to Gender, Women's & Sexuality Studies
- HIST 120 Rethinking the American Experience: American History, 1607-1865 (not offered in 2021-22)
- HIST 121 Rethinking the American Experience: American Social History, 1865-1945 (not offered in 2021-22)
- HIST 122 U.S. Women's History to 1877
- HIST 123 U.S. Women's History Since 1877
- HIST 125 African American History I: From Africa to the Civil War
- MUSC 110 Theory I: The Materials of Music
- MUSC 204 Theory II: Musical Structures
- RELG 140 Religion and American Culture (not offered in 2021-22)
- SOAN 110 Introduction to Anthropology
- SOAN 111 Introduction to Sociology
- WGST 112 Introduction to LGBT/Queer Studies (not offered in 2021-22)
- Soundtracks of America: 18 credits, at least one course must be at the 200-level or above
- AMST 269 Woodstock Nation (not offered in 2021-22)
- MUSC 111 Music and Storytelling
- MUSC 115 Listening to the Movies (not offered in 2021-22)
- MUSC 130 The History of Jazz (not offered in 2021-22)
- MUSC 131 The Blues From the Delta to Chicago
- MUSC 136 History of Rock (not offered in 2021-22)
- MUSC 137 Rock, Sex, & Rebellion
- MUSC 140 Ethnomusicology and the World's Music
- MUSC 144 Music and Migration
- MUSC 208 Computer Music and Sound
- MUSC 211 Race, Gender, and Classical Music (not offered in 2021-22)
- MUSC 212 Sex, Music, and the Virtuoso (not offered in 2021-22)
- MUSC 215 Western Music and its Social Ecosystems, 1830-Present
- MUSC 217 Opera: Stage, Screen, Recording
- MUSC 218 Listening to Dance Music (not offered in 2021-22)
- MUSC 219 The Musical Avant-Garde (not offered in 2021-22)
- MUSC 232 Golden Age of R & B (not offered in 2021-22)
- MUSC 241 Music of Latin America
- MUSC 245 Tradition, Innovation, and Globalization in African Music (not offered in 2021-22)
- MUSC 246 Music in Racism and Antiracism
- MUSC 247 1950s/60s American Folk Music Revival
- MUSC 248 Music of South Asia (not offered in 2021-22)
- MUSC 341 Rock Lab and Lab
- Research Seminar 6 credits
- MUSC 308 Seminar in Music Analysis (not offered in 2021-22)
- MUSC 313 Video Game Music: History, Interpretation, Practice
- MUSC 332 Motown (not offered in 2021-22)
- MUSC 334 Marvin Gaye (not offered in 2021-22)
- MUSC 337 Music in Social Movements (not offered in 2021-22)
- MUSC 338 Sonic Spectacles in Minnesota and Beyond: Music as Heritage
Requirements for the Music Minor
The Minor in Music is an excellent way for students to pursue their passion for music from a broad perspective, but also offers the flexibility for a student to customize a course of study specific to their particular interests.
36 credits required, including:
- Two 200- or 300-level courses (12 credits) selected from:
- 300-level Seminar (6 credits)
- One class from courses numbered MUSC 303-339
- Music Electives (12 credits)
- Any MUSC credits, including Music classes, Cognitive Science 130, The Musical Mind, ensembles, chamber music, applied lessons, and MUSC 299
Students pursuing work in an interdisciplinary area (e.g. ethnomusicology, media studies, music psychology) may petition for elective courses outside of Music to count towards the minor.
* As per the college catalog, a score of 4 or 5 on the AP Music Theory exam grants six credits. This does not grant students automatic exemption from MUSC 103 and/or MUSC 110; exemption in these courses is determined by the departmental placement exam. Credits earned via the AP exam do not count for elective credit in the major or minor.
Requirements for the Music Performance Minor
The Minor in Music Performance has a prescribed area of focus for a student who wishes to pursue excellence in music performance or conducting.
Prerequisite: minimum 1 term of juried lessons at the 200 level; entry into the minor in music performance is by audition only. Auditions will usually take place during juries held at the end of each term.
36 credits required, including:
- Musical Foundations and Theory (3-6 credits)*
- Juried Applied Lessons (10 credits)
- Any combination of 1- or 2-credit juried lessons; normally these 10 credits of applied study will be on the same instrument/voice, but in areas such as non-Western and American folk, students may petition to count lessons on more than one instrument/voice.
Composition 153J/253J does not satisfy this requirement
- Any combination of 1- or 2-credit juried lessons; normally these 10 credits of applied study will be on the same instrument/voice, but in areas such as non-Western and American folk, students may petition to count lessons on more than one instrument/voice.
- Ensemble (3 credits)
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- Three credits from any course number Music 185 to Music 199 (inclusive)
- MUSC 342: Music Performance Seminar (3 credits)
- MUSC 299: Recital (3 credits)
Must be taken once, may be repeated for elective credit
- Music Electives (12-15 credits to total 36 credits)
Any additional MUSC credits, including classroom courses, ensembles, applied lessons or Cognitive Science 130, The Musical Mind.
It is recommended--though not required--that students minoring in music performance take additional courses in theory, history, composition, or world musics.
*As per the college catalog, a score of 4 or 5 on the AP Music Theory exam grants six credits. This does not grant students automatic exemption from MUSC 103 (Musicianship Lab 1) and/or MUSC 110 (Theory I); exemption in these courses is determined by the departmental placement exam. Credits earned via the AP exam do not count for elective credit in the major or minor.
Music Courses
MUSC 100 Music and Environmentalism From Beethoven to Tuvan throat singing, music from all over the world frequently depicts nature and humans’ relationships with it. Yet, music has also historically contributed to the destruction of the environment. In the western medieval world, flocks of sheep were raised and slaughtered to make precious vellum to write notes upon, pythons used to make Japanese shamisen have become endangered, and more recently, the carbon footprint of streaming and downloading music online has grown exponentially. How might we as music consumers and concerned global citizens intervene? In this course we will think critically about the history of music technologies and their impact on the environment in our quest to imagine a sustainable music culture. 6 credits; AI, WR1; Fall; Brooke Okazaki
MUSC 101 Music Fundamentals A course designed for students with little or no music background as preparation and support for other music courses, ensemble participation and applied music study. The course covers the fundamentals of note and rhythmic reading, basic harmony, and develops proficiency in aural skills and elementary keyboard skills. This class will make regular use of the music computer lab for assignments. 2 credits; ARP; Fall; Ronald Rodman
MUSC 103 Musicianship I An introduction to the basic elements of rhythm and melody, with a strong emphasis on sight reading using solfège, score reading in multiple clefs, and short dictation exercises. Prerequisite: Music 101, or permission of the instructor as assessed by a diagnostic exam administered at the start of the term. 2 credits; ARP; Winter; Matthew J Olson
MUSC 104 Musicianship II Continuation of Musicianship I, with an emphasis on singing and dictation skills. More advanced solfège is introduced, including melodies in minor keys and chromaticism. Longer melodic dictation exercises which introduce standard four-and eight-bar melodic schemas will also be covered. Some harmonic dictation will also be included. Prerequisite: Music 103, or permission of instructor as assessed by a diagnostic exam administered at the start of the term. 2 credits; ARP; Spring; Justin M London
MUSC 108 Introduction to Music Technology A course in using the computer to make meaningful interventions into our practices as musicians. We'll explore a number of approaches to composing, producing, and hearing music, among them coding, visual programming, and working in a digital audio workstation. Students will ultimately combine and hybridize these different methods in order to create unique, individual systems, using them to make new work. Open to all interested students; no prior experience with music, programming, or production required. 6 credits; ARP; Fall; Alican Camci
MUSC 109 Choir & A Cappella Arranging Arranging music for vocal groups is a unique balance between artistic integrity, expressivity, and practicality. This balance will be explored experientially first by broadening student's compositional skills and then by applying these skills to their own vocal arrangements for choirs and a cappella groups. Class activities will include studying vocal ranges, scoring for vocal ensembles, and arranging/transcribing music for various combinations of vocal groups. Prerequisite: Music 103, Music 110 or instructor consent. 3 credits; ARP; Spring; Matthew J Olson
MUSC 110 Theory I: The Materials of Music An introduction to the materials of western tonal music, with an emphasis on harmonic structure and syntax. It also covers basic harmonic syntax (through secondary dominants), two-voice counterpoint, melodic phrase structure, musical texture, and small musical forms, along with related theoretical concepts and vocabulary. Student work involves readings, listening assignments, analytical exercises, and short composition projects. Prerequisite: Music 101, or permission of the instructor as assessed by a diagnostic exam administered at the start of the term. 6 credits; LA; Fall; Ronald Rodman
MUSC 111 Music and Storytelling Western music, especially classical music, is often called a “dead” genre. Part of this has to do with its associations with wealth, its aging audience base, and its seeming loftiness. But is this music really dead? In this class we will explore the history of Western music, with classical music as a starting point, but will examine the numerous ways music functions throughout cultures to tell different kinds of stories. We work from the assumption that no music (or art in general) is apolitical; because of this it behooves us to examine the ways the music of the past is deployed in service of social and political values today, whether it is to convince us to buy pizza or to incite revolution. 6 credits; LA, WR2; Fall; Brooke Okazaki
MUSC 115 Listening to the Movies We all watch movies, whether it’s in a theater, on television, a computer, or a smartphone. But we rarely listen to movies. This class is an introduction to film music and sound. The course begins with a module on how film music generally works within a narrative. With this foundation, the course then concentrates on the role film music and sound play in shaping our understanding of the film’ stories. Over the course of the term, students will study a variety of films and learn about theories of film music and sound. Class assignments include a terminology quiz, cue chart, and a short comparative essay. The course will culminate in a final project that may take the form of a term paper or creative project. 6 credits; LA, WR2; Not offered 2021-22
MUSC 124 Hip-Hop in the 1980s This course will consider the musical elements of early of hip-hop. Using guided listening and student responses, we will focus on a single album each week through the term, traversing the entire decade of the 1980s. 2 credits; HI; Not offered 2021-22
MUSC 126 America's Music A survey of American music with particular attention to the interaction of the folk, popular, and classical realms. No musical experience required. 6 credits; WR2, LA, IDS; Winter; Sarah N Lahasky
MUSC 128 Introduction to Conducting This course provides an overview of the history of conducting, as well as an introduction to score analysis and the physical skills required for communicating with an ensemble. Extensive classroom time is given to conducting the other members of the class in order to develop a repertory of non-verbal gestures that communicate form, timbre, ensemble. Prerequisite: Ability to read music. 3 credits; ARP; Not offered 2021-22
MUSC 130 The History of Jazz A survey of jazz from its beginnings to the present day focusing on the performer/composers and their music. 6 credits; LA, WR2, IDS; Not offered 2021-22
MUSC 131 The Blues From the Delta to Chicago A history of the Delta blues and its influence on later blues and popular music styles, tracing its movement from the Mississippi Delta in the 1920s to Chess Records and the Chicago Blues of the 1940s and 50s (especially Howlin' Wolf and Muddy Waters). Music and musicians discussed will include the classic blues singers of the 1920s, early country music (Jimmie Rodgers), and the legacy of Robert Johnson. Issues of authenticity and "ownership" of both the music and its cultural legacy will also be discussed. The course involves readings, listening assignments, and some transcriptions of early recorded blues. No prerequisite, although the ability to read music is helpful. 6 credits; LA, IDS; Winter; Justin M London
MUSC 136 History of Rock This course is an introduction to the history of rock music, emphasizing primarily the period between 1954 and the present. Mixing historical and cultural readings with intense listening, we will cover the vast repertoire of rock music and many other associated styles. We will focus on the sounds of the music, learning to distinguish a wide variety of genres, while also tracing the development and transformation of rock and pop styles. The lectures will use a wide variety of multimedia, including commercial audio and video, unpublished audio and video sources, print materials, and technological devices. Knowledge of a technical musical vocabulary and an ability to read music are not required for this course. 6 credits; LA, WR2, IDS; Not offered 2021-22
MUSC 137 Rock, Sex, & Rebellion This course will develop critical listening skills and an understanding of musical parameters through an introduction to select genres within the history of rock music. Our focus is on competing aesthetic tendencies and sub-cultural forces that shaped the music. The course includes discussions of rock’s significance in American culture and the minority communities that have enriched rock’s legacy as an expressively diverse form. Examined genres include blues, jazz, early rock ’n’ roll, folk rock, protest music, psychedelia, music of the British Invasion, punk, art rock, Motown, funk, hip hop, heavy metal, grunge, glitter, and disco. Lectures, readings, careful listening, and video screenings. Students will also argue for the best rock song of all time. 6 credits; LA, IDS; Fall; Mark S Applebaum
MUSC 140 Ethnomusicology and the World's Music This course is designed to increase your awareness of the role of music as a part of social, political, and economic life. While popular music consumption for entertainment is one interaction that you might have had with music, there are myriad other meanings and uses for music in the United States and around the world. Some of these uses and meanings are obviously apparent to the average listener, and others are less so. Throughout the course, we will be exploring a variety of ways that people use, engage, and identify with music from various regions. The course is organized geographically, beginning with the US/Western Europe and then moving to parts of Asia, the Middle East, Africa, the Caribbean, and Latin America. Each week, we will focus on particular themes related to “traditional,” classical, or popular music to analyze in the context of our geographic case studies. Throughout the course, you will have the opportunity to apply concepts from class to your own musical case study. The culminating course project will consist of an ethnography of your chosen case study. No musical experience necessary. 6 credits; LA, IS, WR2; Fall; Sarah N Lahasky
MUSC 144 Music and Migration Throughout history, people have relocated for a variety of reasons, both voluntarily and forcibly. What sorts of consequences do mass movements of people have on cultural practices? This course will examine the legacy of the slave trade with relation to African-influenced music developments throughout the Americas and the Caribbean. We will first consider the nuances of West African music practices and beliefs before and during the slave trade. Then, we will explore a variety of sacred and secular traditions that developed in the New World as a result of the African Diaspora, including spirituals, the blues, jazz, rock and roll, and hip hop in North America; tango, blocos afro, cumbia, and candombe in South America; and Santería, reggae, timba, rara, and steel pan in the Caribbean. As part of this exploration, we will consider difficult questions, such as what is “black music”?; What ethical considerations must we think about in relation to who can/should play black music?; and What sorts of similarities and differences exist between African-influenced music styles in the Americas, and why? Lastly, we will consider how music in Africa has changed in more recent times due to a return of African-Americans back to their ancestral roots as well as other points of contact between the Americas and Africa, especially in relation to genres like Afrobeat, highlife, and gumbe. No previous musical experience required. 6 credits; LA, WR2, IDS; Fall; Sarah N Lahasky
MUSC 150 Piano Weekly half-hour lessons, with repertoire selected as appropriate for the individual student's experience. Works from a variety of style periods may be studied, with attention to both musical and technical development. Open to students with no previous musical experience. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Nikki Melville, Loren B Fishman, Matthew McCright, Marcia Widman
MUSC 150J Piano (Juried) Weekly half-hour lessons, with repertoire selected as appropriate for the individual student's experience. Works from a variety of style periods may be studied, with attention to both musical and technical development. The juried (J) course includes the opportunity for students to share their work in an end-of-term public or closed performance. Open to students with no previous musical experience. 1 credit; ARP; Fall, Winter, Spring; Nikki Melville, Loren B Fishman, Matthew McCright, Marcia Widman
MUSC 151 Voice A study of voice production, breathing, tone development, diction, and pronunciation. Selection (according to the individual voice) of Italian, German, French, and English songs of the Classic, Romantic, and Modern periods. Arias and songs from operas, oratorios, musical theater and popular songs from Western and non-Western traditions. In addition, one studio class per week. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Rick A Penning, Ben Allen, KrisAnne E Weiss, Matthew J Olson
MUSC 151J Voice (Juried) A study of voice production, breathing, tone development, diction, and pronunciation. Selection (according to the individual voice) of Italian, German, French, and English songs of the Classic, Romantic, and Modern periods. Arias and songs from operas, oratorios, musical theater and popular songs from Western and non-Western traditions. In addition, one studio class per week. 1 credit; ARP; Fall, Winter, Spring; Rick A Penning, Ben Allen, KrisAnne E Weiss, Matthew J Olson
MUSC 152 Guitar Studies for the development of technique appropriate to the needs of the student. Music is chosen from all musical periods including folk picking, blues, ragtime, popular and classical styles. Students with no prior experience or lessons should take one term of class guitar (Music 197). 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Mark Kreitzer
MUSC 152J Guitar (Juried) Studies for the development of technique appropriate to the needs of the student. Music is chosen from all musical periods including folk picking, blues, ragtime, popular and classical styles. Students with no prior experience or lessons should take one term of class guitar (Music 197). 1 credit; ARP; Fall, Winter, Spring; Mark Kreitzer
MUSC 153J Composition (Juried) Individual instruction focusing on the student’s original compositions. Course work includes the study of compositional techniques, analysis of relevant works, and computer/MIDI/synthesizer technologies. The course is particularly directed toward the major who wishes to pursue the composition option in the Senior Integrative Exercise. Prerequisite: Music 220, or two courses from Music 221, 222 or 223 or instructor consent. 1 credit; ARP; Fall, Winter, Spring; Alican Camci
MUSC 155 Violin 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Hector L Valdivia, Natalia Moiseeva, Susan M Crawford
MUSC 155J Violin (Juried) 1 credit; ARP; Fall, Winter, Spring; Hector L Valdivia, Natalia Moiseeva, Susan M Crawford
MUSC 156 Viola 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Hector L Valdivia, Natalia Moiseeva, Susan M Crawford
MUSC 156J Viola (Juried) 1 credit; ARP; Fall, Winter, Spring; Hector L Valdivia, Natalia Moiseeva, Susan M Crawford
MUSC 158 Classical String Bass The study of the acoustic string bass in the Classical style. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Connie K Martin
MUSC 158J Classical String Bass (Juried) The study of the acoustic string bass in the Classical style. 1 credit; ARP; Fall, Winter, Spring; Connie K Martin
MUSC 168 Orchestral Percussion Instruction on orchestral percussion instruments such as snare drum, mallets, and tympani. Equipment available for registered students. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Jay L Johnson
MUSC 168J Orchestral Percussion (Juried) Instruction on orchestral percussion instruments such as snare drum, mallets, and tympani. Equipment available for registered students. 1 credit; ARP; Fall, Winter, Spring; Jay L Johnson
MUSC 169 Harp Studies to develop technique and a varied selection of works from the Renaissance and Baroque periods. Works from the Romantic and Modern periods are also studied. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Elinor Niemisto
MUSC 169J Harp (Juried) Studies to develop technique and a varied selection of works from the Renaissance and Baroque periods. Works from the Romantic and Modern periods are also studied. 1 credit; ARP; Fall, Winter, Spring; Elinor Niemisto
MUSC 171 Organ Basic piano skills required. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Janean A Hall
MUSC 171J Organ (Juried) Basic piano skills required. 1 credit; ARP; Fall, Winter, Spring; Janean A Hall
MUSC 172 Oud Beginning through advanced study of the Arab oud. Previous musical experience is not necessary. Instruments are provided. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Yaron Klein
MUSC 172J Oud (Juried) Beginning through advanced study of the Arab oud. Previous musical experience is not necessary. Instruments are provided. 1 credit; ARP; Fall, Winter, Spring; Yaron Klein
MUSC 175 Jazz Piano Study the tools for learning the jazz "language." Learn to improvise through scale and mode study, transcription, and composition. Turn chord symbols into chord voicings and accompaniment. Explore the blues, jazz "standards," and today's music. Materials: staff paper, The Real Book, vol. 1, or similar fake book, and the app iReal Pro. Weekly studio class required. Prerequisite: Three years of piano or instructor permission. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Laura S Caviani
MUSC 175J Jazz Piano (Juried) Study the tools for learning the jazz "language." Learn to improvise through scale and mode study, transcription, and composition. Turn chord symbols into chord voicings and accompaniment. Explore the blues, jazz "standards," and today's music. Materials: staff paper, The Real Book, vol. 1, or similar fake book, and the app iReal Pro. Weekly studio class required. Prerequisite: Three years of piano or instructor permission. 1 credit; ARP; Fall, Winter, Spring; Laura S Caviani
MUSC 176 Electric & Acoustic Bass The study of either electric bass guitar or acoustic string bass in all contemporary styles including rock, jazz, pop, rap, and reggae. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Travis J Schilling
MUSC 176J Electric & Acoustic Bass (Juried) The study of either electric bass guitar or acoustic string bass in all contemporary styles including rock, jazz, pop, rap, and reggae. 1 credit; ARP; Fall, Winter, Spring; Travis J Schilling
MUSC 177 Jazz and Blues Guitar Study of chord voicings, accompanimental techniques, and solo guitar performance in the jazz idiom. Prerequisites: previous study of guitar and the ability to read music, or the permission of the instructor. Students must provide their own instruments. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Zacc Harris
MUSC 177J Jazz and Blues Guitar (Juried) Study of chord voicings, accompanimental techniques, and solo guitar performance in the jazz idiom. Prerequisites: previous study of guitar and the ability to read music, or the permission of the instructor. Students must provide their own instruments. 1 credit; ARP; Fall, Winter, Spring; Zacc Harris
MUSC 178 Drum Set Instruction Drum Set Instruction on/in jazz and popular drumming styles which use the standard drum set. Equipment available for registered students. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Jay L Johnson
MUSC 178J Drum Set Instruction (Juried) Drum Set Instruction on/in jazz and popular drumming styles which use the standard drum set. Equipment available for registered students. 1 credit; ARP; Fall, Winter, Spring; Jay L Johnson
MUSC 179 Jazz Improvisation The study of the basic grammar and syntax of jazz improvisation styles, including transcribing solos, chord/scale materials and melodic patterns. Weekly studio class required. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Laura S Caviani
MUSC 179J Jazz Improvisation (Juried) The study of the basic grammar and syntax of jazz improvisation styles, including transcribing solos, chord/scale materials and melodic patterns. Weekly studio class required. 1 credit; ARP; Fall, Winter, Spring; Laura S Caviani
MUSC 180 Raga: Vocal or Instrumental Study of Hindustani Music Beginning, intermediate, and advanced students of voice, guitar, violin, flute, clarinet, etc., approach raga from their current level of musicianship. In all cases, traditional practical instruction is complemented by some theoretical and philosophical exploration of the underpinnings of the music. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; David S Whetstone
MUSC 180J Raga: Vocal or Instrumental Study of Hindustani Music (Juried) Beginning, intermediate, and advanced students of voice, guitar, violin, flute, clarinet, etc., approach raga from their current level of musicianship. In all cases, traditional practical instruction is complemented by some theoretical and philosophical exploration of the underpinnings of the music. 1 credit; ARP; Fall, Winter, Spring; David S Whetstone
MUSC 181 Sitar Beginning through advanced study of sitar in the gayaki ang style of Ustad Vilayat Khan. Previous musical experience is not necessary. Sitars are provided. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; David S Whetstone
MUSC 181J Sitar (Juried) Beginning through advanced study of sitar in the gayaki ang style of Ustad Vilayat Khan. Previous musical experience is not necessary. Sitars are provided. 1 credit; ARP; Fall, Winter, Spring; David S Whetstone
MUSC 182 Chinese Musical Instruments Beginning through advanced study on traditional Chinese instruments, pipa (Chinese lute), erhu (Chinese violin), guzheng (Chinese zither), zhongruan (Chinese moon guitar), hulusi, bawu and dizi (Chinese bamboo flutes). 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Gao Hong
MUSC 182J Chinese Musical Instruments (Juried) Beginning through advanced study on traditional Chinese instruments, pipa (Chinese lute), erhu (Chinese violin), guzheng (Chinese zither), zhongruan (Chinese moon guitar), hulusi, bawu and dizi (Chinese bamboo flutes). 1 credit; ARP; Fall, Winter, Spring; Gao Hong
MUSC 183 World Drumming Instruction World drumming instruction in various ethnic drumming styles including West African (Ghanaian instruments), Cuban (congas), North Indian (tabla) and Middle Eastern (dumbek). Equipment available for registered students. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Jay L Johnson
MUSC 183J World Drumming Instruction (Juried) World drumming instruction in various ethnic drumming styles including West African (Ghanaian instruments), Cuban (congas), North Indian (tabla) and Middle Eastern (dumbek). Equipment available for registered students. 1 credit; ARP; Fall, Winter, Spring; Jay L Johnson
MUSC 184 American Folk Instruments Beginning to advanced study of technique and improvisational styles on American folk instruments. Students may study 5-string banjo (bluegrass or clawhammer style), bluegrass guitar, Dobro©, fiddle (violin, viola, cello), bass, ukulele, mandolin, and accordion. The Music Department has a single mandolin, fiddle, banjo, and guitar (and two ukuleles) available for shared use by enrolled students unable to provide their own instruments. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Mark Kreitzer
MUSC 184J American Folk Instruments (Juried) Beginning to advanced study of technique and improvisational styles on American folk instruments. Students may study 5-string banjo (bluegrass or clawhammer style), bluegrass guitar, Dobro©, fiddle (violin, viola, cello), bass, ukulele, mandolin, and accordion. The Music Department has a single mandolin, fiddle, banjo, and guitar (and two ukuleles) available for shared use by enrolled students unable to provide their own instruments 1 credit; ARP; Fall, Winter, Spring; Mark Kreitzer
MUSC 185 Carleton Choir The Carleton Choir, the cornerstone of the choral program, is a select mixed chorus of Carleton students. Each term, the ensemble presents a concert of short and extended works from the large bodies of classical, ethnic, and cultural repertories, including works for mixed, treble, and tenor-bass voices. Concerts are sometimes repeated off campus. Students must have good vocal skills, music reading ability, and a high degree of interest in performing quality choral music. Admission is by audition. Prerequisite: Audition. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Matthew J Olson
MUSC 186 Carleton Chamber Choir The Carleton Chamber Choir is a select, mixed ensemble performing challenging choral music from the Renaissance era to the twenty first century. Admission is by audition and membership in the Carleton Choir (MUSC 185) is also required. Except in rare instances, Chamber Choir singers are expected to commit to all three terms in a given academic year. One weekly TBD sectional rehearsal in addition to the Thursday 5-6:30PM meeting time. Prerequisite: Requires concurrent registration in Music 185. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Matthew J Olson
MUSC 187 Carleton Orchestra The Carleton Orchestra performs large symphonic masterpieces, such as Beethoven, Stravinsky and Bernstein. Concerti with students and faculty soloists, and smaller works for string and wind ensembles are also performed. Occasional sight-reading sessions. Admission by audition. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Hector L Valdivia
MUSC 188 Carleton Chinese Music Ensemble The ensemble will use indigenous instruments and a Chinese approach to musical training in order to learn and perform music from China. In addition to the Wednesday meeting time, there will be one sectional rehearsal each week. Prerequisite: Previous experience in a music ensemble, Chinese Musical instruments or instructor permission. 1 credit; S/CR/NC; ARP, IS; Fall, Winter, Spring; Gao Hong
MUSC 189 Carleton Symphony Band The Carleton Symphony Band performs music selected from the standard and contemporary repertory, including compositions by Holst, Masianka, Arnold and others. Regular sight-reading sessions. Admission by audition. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Ronald Rodman, Claire K Larson
MUSC 190 Carleton Jazz Ensemble The Carleton Jazz Ensemble's focus is on improvisation and the fusion between jazz, rock, funk, and Latin influences. There is no predetermined instrumentation. Rather, the ensemble's size and instrumentation vary each term. String players, vocalists, and any brass or woodwind instrumentalists are welcome to register. The ensemble performs once each term. Prerequisite: Admission by audition. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Laura S Caviani
MUSC 192 West African Drum Ensemble The ensemble will use indigenous instruments and an African approach to musical training in order to learn and perform rhythms and songs from West Africa. Prerequisite: Prior experience in drumming/percussion is helpful but not required. A division into subgroups (e.g., beginners and advanced) is possible according to need. 1 credit; S/CR/NC; ARP, IS; Fall, Winter, Spring; Jay L Johnson
MUSC 194 Chamber Music Small group study and performance of instrumental and/or vocal chamber music from the western art music or non-western/folk repertory. Groups are usually formed by students prior to registration, and should consist of 3-8 musicians. Student groups are coached weekly by specialized music faculty, and participate in an end-of-term performance. Students must be registered, may not audit, and can register for only one group per term. Prerequisite: At least one term of applied music lessons at Carleton, or co-registration in applied music lessons, or permission of instructor. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Nikki Melville, Hector L Valdivia, Natalia Moiseeva, Nina E Olsen, Greg C Byers, Gao Hong, Loren B Fishman, Martha N Jamsa, Matthew McCright, Yaron Klein, Connie K Martin, Jay L Johnson
MUSC 195 Jazz Chamber Music Small groups participate in the study and performance of instrumental and/or vocal jazz chamber music. Groups are usually formed by students prior to registration, and should usually consist of 3-8 students. Groups rehearse independently, and are coached weekly by jazz music faculty; all groups participate in an end-of-term performance. Students must register, and may not audit; students register for only one group, but may participate in two groups with permission of instructor. Prerequisite: At least one term of applied music lessons at Carleton, or co-registration in applied music lessons, or permission of instructor. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Laura S Caviani, Zacc Harris
MUSC 196 Jazz Workshop This class focuses on the theory and practice of jazz improvisation. Students will develop their improvisational skills by learning and applying various scales, modes, and chord structures to lab performances of standard jazz repertoire on their respective instruments. Prerequisite: Instructor permission required. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Laura S Caviani, Zacc Harris
MUSC 197 Class Guitar An introduction to classical and folk guitar: styles, chords and music notation for persons with little or no previous music instruction. Not to be taken concurrently with Music 152 or 252 (Guitar). 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Mark Kreitzer
MUSC 198 Class Voice This course provides students with a communal experience to learn the art of singing. Designed for beginners, the class offers group exercises and vocalizing, solo lessons, listening assignments, lectures, and readings to learn the skills to sing musical styles ranging from classical to musical theater to global folk songs. Some experience with Western musical notation is helpful, though not required. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Matthew J Olson
MUSC 199 Fundamentals of African Drumming Class instruction in basic techniques of African drumming. No musical training or experience is necessary. 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Jay L Johnson
MUSC 204 Theory II: Musical Structures An investigation into the nature of musical sounds and the way they are combined to form rhythms, melodies, harmonies, and form. Topics include the nature of musical pitch, the structure of musical scales and their influence on melody, chords and their interval content, the complexity of rhythmic patterns, and chromatic harmony and modulation. Student work includes building a musical instrument, programming a drum machine, writing computer code to create harmonies and timbres, and an extended music analysis project. Prerequisite: Music 101, or permission of the instructor as assessed by a diagnostic exam administered at the start of the term. 6 credits; LA, WR2, QRE; Winter; Justin M London
MUSC 208 Computer Music and Sound This course surveys computer techniques for analyzing, synthesizing, manipulating, and creating musical sounds. We'll study the basic components of digital sound: waveforms, oscillators, envelopes, delay lines, and filters. While we’ll explore the techniques and concepts of computer music in detail, our focus will be putting them to work in our creative practice, using open source computer music languages as well as digital audio workstations, according to the strengths and limitations of each music-making environment. We’ll show how computer music composition takes shape in a wide variety of styles and aesthetics, free to choose among them or create our own. Prerequisite: Music 108 or Computer Science 111 or Instructor permission. 6 credits; ARP; Winter; Alican Camci
MUSC 209 Interactive Music Systems Technological tools assist and mediate a great diversity of musical compositions and performances. This course focuses specifically on the dynamic uses of technology, and systems that require significant interaction between composer/performer and software/hardware. The course will focus especially on dataflow programming in the Max environment, creating custom software for use in performing original work, informed by our investigation into relevant model compositions as well as the principles of digital audio. Prerequisite: A willingness to perform original music on an instrument or voice and Music 108 or Computer Science 111, or instructor consent. 6 credits; Not offered 2021-22
MUSC 211 Race, Gender, and Classical Music This course tackles a crucial question in the study of western classical music: why do compositions by white, dead, men still dominate the concert halls in the twenty-first century? And more importantly, how can we as music students and lovers change this? By looking at the role race and gender have historically played in the production and reception of western classical music, students will interrogate what it means to listen to it. Through a variety of assignments including listening analyses, creative responses, and a final QRE project, students will develop skills to help them succeed in their various musical endeavors. 6 credits; LA, WR2, QRE; Not offered 2021-22
MUSC 212 Sex, Music, and the Virtuoso From Paganini to Esperanza, Liszt to Lang Lang, Wieck to Hahn, audiences have long adored and obsessed over musical virtuosity. But what do we mean when we call someone a musical virtuoso? How is virtuosity enmeshed with ideas of genius, race, and gender? How have both historical and contemporary discourses conflated musical and sexual prowess? This class explores the above questions, concentrating on music and figures operating within the world of Western art music along with references to jazz and popular music. An ability to read music is required. Prerequisite: Music 110 or 204 highly desirable. 6 credits; LA, WR2; Not offered 2021-22
MUSC 215 Western Music and its Social Ecosystems, 1830-Present This class expands students’ understanding of Western music by concentrating on the social ecosystem of performers, musicians, and consumer-listeners of both past and present. Students will explore broad themes in music history, such as concepts of sound, materiality, religion, politics, embodiment, and narrative. Through a variety of assignments including listening analyses, creative responses, and a final project, students will develop critical thinking, research, and communication skills to help them be successful in their various musical endeavors. 6 credits; LA, WR2; Winter; Brooke Okazaki
MUSC 217 Opera: Stage, Screen, Recording Pure pleasure or pure torture? Opera is said to be both. This course is an introduction to opera based on its 400-year history from 1600 to the present. Over the term, we will explore several topics including how music conveys characters’ feelings, singers and the allure of the voice, race, gender, and opera, opera in film, and the experience of live performance. We will deal with a wide variety of pieces and investigate the social and cultural functions of opera via creative research assignments. No previous musical experience necessary. Prerequisite: None, ability to read music is not necessary. 6 credits; LA, WR2; Spring; Brooke Okazaki
MUSC 218 Listening to Dance Music This course explores the relationship between western art music and social dance, staged productions, or stylized concert genres based on social dance and staged productions. Students will examine how bodies have moved to music by asking the questions: which music? and which bodies? Repertoire will range from sixteenth-century French court ballets, to the un-danceable waltzes of Chopin and Brahms, to Hamilton, where hip hop meets colonial American country dance. 6 credits; LA, WR2; Not offered 2021-22
MUSC 219 The Musical Avant-Garde “Piano Piece for David Tudor #3: most of them were very old grasshoppers.” –La Monte Young (1960). What is an avant-garde? How can music be “ahead of its time”? In this class, students will explore the histories, aesthetics, and socio-cultural contexts of musical avant-gardes and musical experimentalism post-WWII. While the course focuses on art music of the 1950s-1970s (from concert pieces by Stockhausen and Cage, to the “intermedial” art forms promoted by Fluxus, to the avant-jazz of Ornette Coleman and John Coltrane), students will also consider what a musical avant-garde in 2020 might sound like, look like, or act like. 6 credits; LA, WR2; Not offered 2021-22
MUSC 220 Composition Studio This course focuses on creating new music, through several exercises as well as a substantial term composition. Class meetings reinforce key concepts, aesthetic trends, and compositional techniques, as well as provide opportunities for group feedback on works in progress. Individual instruction focuses on students' own creative work in depth and detail. Prerequisite: Music 110, 204 or instructor permission. 6 credits; ARP; Spring; Alican Camci
MUSC 221 Electronic Music Composition This course focuses on creating new electronic music. We will use digital audio workstations for composition and production, grounding their use in the fundamentals of digital audio. We will listen extensively, in many genres of electronic music, applying this critical listening to our own work and our colleagues' work. Frequent composition assignments build fundamental skills in melodic creation and development, drum programming, synthesis, and audio production. The course culminates in a term project, a stylistically unrestricted, substantial original composition. Prerequisite: Music 108, Music 110 or instructor consent. 6 credits; ARP; Not offered 2021-22
MUSC 222 Composing for Ad Hoc Ensemble In this composition course, we will create music for ourselves to perform. The members of the class constitute the Ad Hoc Ensemble; we will begin by writing small studies for individual instruments or voices in this group, and methodically build to composing for the entire ensemble. We will focus on idiomatic instrumental writing and orchestration, and will explore both traditional and experimental approaches to notation. Prerequisite: Music 110 or instructor permission. 3 credits; ARP; Not offered 2021-22
MUSC 223 Vocal Counterpoint In this composition course, we will write for (our own) singing voices, anchoring our writing to various traditions of vocal part writing while developing our own idiosyncratic approaches. We will move methodically from singing single lines against drones, to creating two-, three-, and four-part compositions, culminating in a substantial composition for multiple voices per part. We will sing constantly to reinforce key concepts and to hear our works in progress, and will base our analysis of our own compositions as well as more canonical works on bringing the music to life through vocal performance. Prerequisite: Ability and willingness to sing from score, and Music 110 or instructor permission. 3 credits; ARP; Not offered 2021-22
MUSC 224 Collaborative Composition in Community Partnership In this composition course, students will co-create music with youth at The Area Learning Center, a non-traditional education environment for qualifying Northfield students. Members of the class will visit regularly to make and share music, and will work towards a substantial collaborative composition, while also creating smaller projects throughout the term. To support this work, we will study model compositions that leave key parameters open, such as instrumentation and ensemble size, or that use alternate notation systems, or that depend on structured improvisation. We will also explore various technological tools that can extend our collaborative capabilities and that can assist us in documenting and presenting our collaborative work. Prerequisite: Music 108 or Music 110 or instructor consent. 6 credits; ARP; Not offered 2021-22
MUSC 225 Performing with Electronics Performing with Electronics is both a survey and a creative course. We will explore historical and contemporary examples of performing with live electronics that incorporate both analog and digital technologies, such as use of turntables and sampling, microphones and speakers, synthesizers, no-input mixing, digital processing, among others. Taking cue from these different approaches to working with electronics in real time, we will investigate ways of approaching a live scenario, designing hardware and software interfaces for performance. Our goal will be learning to perform with our setups, ultimately looking into the possibilities of performing as an ensemble. Recommended to take in tandem with MUSC 208. 3 credits; ARP; Winter; Alican Camci
MUSC 227 Perception and Cognition of Music Covers basic issues in auditory perception and cognition with an emphasis on the perception of musical pitch, including sensory discrimination, categorical perception, roughness and dissonance, absolute pitch, and auditory streaming. Other topics to be covered include the processing of language and music, and emotional responses to music. A grade of C- or better must be earned in both Music 227 and 228 to satisfy the LS requirement. Prerequisite: A previous course in Music or Psychology, or instructor permission; Concurrent registration in Music 228. 6 credits; QRE, LS; Not offered 2021-22
MUSC 228 Perception and Cognition of Music Lab An introduction to the methods of experimental and observational research in music perception and cognition. Student teams will replicate/extend classic experiments in music perception, which will involve reviewing historical and current literature, creating stimuli, running experimental trials, performing statistical analyses of data, and giving a poster presentation of their results. A grade of C- or better must be earned in both Music 227 and 228 to satisfy the LS requirement. Prerequisite: Concurrent registration in Music 227. 2 credits; LS, QRE; Not offered 2021-22
MUSC 232 Golden Age of R & B A survey of rhythm and blues from 1945 to 1975, focusing on performers, composers and the music industry. 6 credits; LA, WR2, IDS; Not offered 2021-22
MUSC 239 The Philosophy of Music What is Music, and what exactly is a “musical composition,” especially in the age of recorded music and sampling? Can music tell a story, express an emotion, or convey a proposition? And if music can do any of these things, how does it do it? Last but not least, how are we to judge the value of musical pieces and musical practices? Do we need to judge popular music differently from so-called “art” music? To address these questions we will listen to a wide range of musical examples, from Bach and Mozart to the Beatles and Jimi Hendrix, and we will read a wide range of writings about music, from Plato, Rousseau, and Kant to current philosophers, including Scruton, Kivy, Davies, Carroll, and Gracyk. Prerequisite: Previous music or philosophy course or instructor permission. 6 credits; LA, WR2; Not offered 2021-22
MUSC 240 Music in Health, Disability, and Disease We’ll investigate music's relationships to health, disability, and disease using scholarly articles, documentaries, historical archives, and current events. How does musical activity promote or enhance health in everyday life? How do various disabilities shape musical experience? How can music intervene in disease processes? Our inquiry will include the many musical responses to and adaptations necessitated by COVID-19. We will consider the place of sound and music as interventions in systemic racism, increasingly recognized as a public health threat. Students will complete a research paper and presentation on a topic of their choosing, guided throughout the term. 6 credits; SI, WR2, IDS; Not offered 2021-22
MUSC 241 Music of Latin America This course is designed to increase your awareness of musical styles in Latin America within particular social, economic, and political contexts. We will cover topics related to popular, folkloric, classical, and indigenous musics spanning from Mexico to South America's Southern Cone. The course will include elements of performance and dance instruction in addition to a critical examination of lived experiences across the region. No previous musical experience is necessary. 6 credits; LA, IS; Winter; Sarah N Lahasky
MUSC 245 Tradition, Innovation, and Globalization in African Music Through reading, listening, watching, and playing, we explore African music and developments in African musical life. Using the works of canonical and emerging scholars, we will examine music with particular attention to its intersections with health, technology, citizenship, and gender roles. Students will also learn elements of West African percussion and Shona karimba through applied study. No experience necessary. 6 credits; IS, ARP; Not offered 2021-22
MUSC 246 Music in Racism and Antiracism Music has a long, ugly history as a tool for the transmission of racism, and a vital one as a weapon against it. We will survey important instantiations at the intersections of music and racism in blackface minstrelsy, western classical music, Dalit music, Albinism, the U.S. national anthem, white nationalism, and the anti-apartheid movement, among others. Centering racism and antiracism, we will investigate the careers and musical output of five musicians: Paul Robeson, Pete Seeger, Hazel Scott, Charity Bailey, and Janelle Monae. Students will complete an original guided research project on a topic of their choice. No musical experience required. 6 credits; SI, WR2, IDS; Spring; Melinda Russell
MUSC 247 1950s/60s American Folk Music Revival Explores the historical bases of musical style, the role of recorded music, the social construction of a "folk music" milieu, and the music of Pete Seeger, Woody Guthrie, Phil Ochs, Bob Dylan, Joan Baez, et al. No musical experience necessary; you need not read musical notation. Includes one day per week of applied instruction: Section 1 (beginning folk guitar--instruments provided) only for those with zero guitar experience; Section 2 (folk workshop --provide your own instruments) if you have any experience on guitar, banjo, fiddle, mandolin, ukelele, Dobro, viola, cello, or bass. 6 credits; ARP; Spring; Melinda Russell
MUSC 248 Music of South Asia This course focuses on South Asian musical traditions including qawwali, folk and popular musics, and the classical Hindustani and Carnatic traditions of North and South India. We will consider the historical and cultural contexts of several genres, read the work of scholars from various disciplines, and study relevant audio and video. Students will learn rudimentary theory of Indian classical music, understand its twentieth and twenty-first century developments, and develop listening skills to enable recognition of major genres, styles, and artists. One day a week will be devoted to applied study of Indian vocal raga. No musical background required. 6 credits; ARP, IS; Not offered 2021-22
MUSC 250 Piano Weekly one-hour lessons, with repertoire selected as appropriate for the individual student's experience. Works from a variety of style periods may be studied, with attention to both musical and technical development. Music 250 is intended for the more advanced piano student; permission of instructor is required. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Nikki Melville, Loren B Fishman, Matthew McCright, Marcia Widman
MUSC 250J Piano (Juried) Weekly one-hour lessons, with repertoire selected as appropriate for the individual student's experience. Works from a variety of style periods may be studied, with attention to both musical and technical development. The juried (J) course includes the opportunity for students to share their work in an end-of-term public or closed performance. Music 250J is intended for the more advanced piano student; permission of instructor is required. 2 credits; ARP; Fall, Winter, Spring; Nikki Melville, Loren B Fishman, Matthew McCright, Marcia Widman
MUSC 251 Voice A study of voice production, breathing, tone development, diction, and pronunciation. Selection (according to the individual voice) of Italian, German, French, and English songs of the Classic, Romantic, and Modern periods. Arias and songs from operas, oratorios, musical theater and popular songs from Western and non-Western traditions. In addition, one studio class per week. Prerequisite: Music 151 or permission of the instructor. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Rick A Penning, KrisAnne E Weiss, Matthew J Olson, Ben Allen
MUSC 251J Voice (Juried) A study of voice production, breathing, tone development, diction, and pronunciation. Selection (according to the individual voice) of Italian, German, French, and English songs of the Classic, Romantic, and Modern periods. Arias and songs from operas, oratorios, musical theater and popular songs from Western and non-Western traditions. In addition, one studio class per week. Prerequisite: Music 151 or permission of the instructor. 2 credits; ARP; Fall, Winter, Spring; Rick A Penning, KrisAnne E Weiss, Matthew J Olson, Ben Allen
MUSC 252 Guitar Studies for the development of technique appropriate to the needs of the student. Music is chosen from all musical periods including folk picking, blues, ragtime, popular and classical styles. Students with no prior experience or lessons should take one term of class guitar (Music 197). Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Mark Kreitzer
MUSC 252J Guitar (Juried) Studies for the development of technique appropriate to the needs of the student. Music is chosen from all musical periods including folk picking, blues, ragtime, popular and classical styles. Students with no prior experience or lessons should take one term of class guitar (Music 197). Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Mark Kreitzer
MUSC 253J Composition (Juried) Individual instruction focusing on the student's original compositions. Course work includes the study of compositional techniques, analysis of relevant works, and computer/MIDI/synthesizer technologies. The course is particularly directed toward the major who wishes to pursue the composition option in the Senior Integrative Exercise. Prerequisite: Music 220, or two courses from Music 221, Music 222 or Music 223 or instructor consent. 2 credits; ARP; Fall, Winter, Spring; Alican Camci
MUSC 255 Violin Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Hector L Valdivia, Natalia Moiseeva, Susan M Crawford
MUSC 255J Violin (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Hector L Valdivia, Natalia Moiseeva, Susan M Crawford
MUSC 256 Viola Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Hector L Valdivia, Natalia Moiseeva, Susan M Crawford
MUSC 256J Viola (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Hector L Valdivia, Natalia Moiseeva, Susan M Crawford
MUSC 257 Cello Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Thomas Rosenberg, Greg C Byers
MUSC 257J Cello (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Thomas Rosenberg, Greg C Byers
MUSC 258 Classical String Bass The study of the acoustic string bass in the Classical style. Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Connie K Martin
MUSC 258J Classical String Bass (Juried) The study of the acoustic string bass in the Classical style. Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Connie K Martin
MUSC 259 Flute Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Martha N Jamsa
MUSC 259J Flute (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Martha N Jamsa
MUSC 260 Oboe/English Horn Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Merilee I Klemp
MUSC 260J Oboe/English Horn (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Merilee I Klemp
MUSC 261 Clarinet Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Nina E Olsen
MUSC 261J Clarinet (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Nina E Olsen
MUSC 262 Saxophone Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Greg Keel
MUSC 262J Saxophone (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Greg Keel
MUSC 263 Bassoon Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Thea N Groth
MUSC 263J Bassoon (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Thea N Groth
MUSC 264 French Horn Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Gwen M Anderson
MUSC 264J French Horn (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Gwen M Anderson
MUSC 265 Trumpet Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Lynn B Deichert
MUSC 265J Trumpet (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Lynn B Deichert
MUSC 266 Trombone/Euphonium Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Carson A King-Fournier
MUSC 266J Trombone/Euphonium (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Carson A King-Fournier
MUSC 267 Tuba Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Carson A King-Fournier
MUSC 267J Tuba (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Carson A King-Fournier
MUSC 268 Orchestral Percussion Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Jay L Johnson
MUSC 268J Orchestral Percussion (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Jay L Johnson
MUSC 269 Harp Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Elinor Niemisto
MUSC 269J Harp (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Elinor Niemisto
MUSC 270 Harpsichord Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Janean A Hall
MUSC 270J Harpsichord (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Janean A Hall
MUSC 271 Organ Basic piano skills required. Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Janean A Hall
MUSC 271J Organ (Juried) Basic piano skills required. Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Janean A Hall
MUSC 272 Oud Advanced study of the Arab oud. Instruments are provided. Instructor's permission required. Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Yaron Klein
MUSC 272J Oud (Juried) Advanced study of the Arab oud. Instruments are provided. Instructor's permission required. Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Yaron Klein
MUSC 274 Recorder Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Mark Krusemeyer
MUSC 274J Recorder (Juried) Prerequisite: Instructor Permission. 1 credit; ARP; Fall, Winter, Spring; Mark Krusemeyer
MUSC 275 Jazz Piano Study the tools for learning the jazz "language." Learn to improvise through scale and mode study, transcription, and composition. Turn chord symbols into chord voicings and accompaniment. Explore the blues, jazz "standards," and today's music. Materials: staff paper, The Real Book, vol. 1, or similar fake book, and the app iReal Pro. Weekly studio class required. Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Laura S Caviani
MUSC 275J Jazz Piano (Juried) Study the tools for learning the jazz "language." Learn to improvise through scale and mode study, transcription, and composition. Turn chord symbols into chord voicings and accompaniment. Explore the blues, jazz "standards," and today's music. Materials: staff paper, The Real Book, vol. 1, or similar fake book, and the app iReal Pro. Weekly studio class required. Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Laura S Caviani
MUSC 276 Electric & Acoustic Bass The study of either electric bass guitar or acoustic string bass in all contemporary styles including rock, jazz, pop, rap, and reggae. Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Travis J Schilling
MUSC 276J Electric & Acoustic Bass (Juried) The study of either electric bass guitar or acoustic string bass in all contemporary styles including rock, jazz, pop, rap, and reggae. Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Travis J Schilling
MUSC 277 Jazz and Blues Guitar Study of chord voicings, accompanimental techniques, and solo guitar performance in the jazz idiom. Prerequisites: previous study of guitar and the ability to read music, or the permission of the instructor. Students must provide their own instruments. Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Zacc Harris
MUSC 277J Jazz and Blues Guitar (Juried) Study of chord voicings, accompanimental techniques, and solo guitar performance in the jazz idiom. Prerequisites: previous study of guitar and the ability to read music, or the permission of the instructor. Students must provide their own instruments. Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Zacc Harris
MUSC 278 Drum Set Instruction Drum Set Instruction on/in jazz and popular drumming styles which use the standard drum set. Equipment available for registered students. Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Jay L Johnson
MUSC 278J Drum Set Instruction (Juried) Drum Set Instruction on/in jazz and popular drumming styles which use the standard drum set. Equipment available for registered students. Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Jay L Johnson
MUSC 279 Jazz Improvisation The study of the basic grammar and syntax of jazz improvisation styles, including transcribing solos, chord/scale materials and melodic patterns. Weekly studio class participation required. Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Laura S Caviani
MUSC 279J Jazz Improvisation (Juried) The study of the basic grammar and syntax of jazz improvisation styles, including transcribing solos, chord/scale materials and melodic patterns. Weekly studio class participation is required. Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Laura S Caviani
MUSC 280 Raga: Vocal or Instrumental Study of Hindustani Music Beginning, intermediate, and advanced students of voice, guitar, violin, flute, clarinet, etc., approach raga from their current level of musicianship. In all cases, traditional practical instruction is complemented by some theoretical and philosophical exploration of the underpinnings of the music. Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; David S Whetstone
MUSC 280J Raga:Voc/Instr Study Hindustani (Juried) Beginning, intermediate, and advanced students of voice, guitar, violin, flute, clarinet, etc., approach raga from their current level of musicianship. In all cases, traditional practical instruction is complemented by some theoretical and philosophical exploration of the underpinnings of the music. Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; David S Whetstone
MUSC 281 Sitar Beginning through advanced study of sitar in the gayaki ang style of Ustad Vilayat Khan. Previous musical experience is not necessary. Sitars are provided. Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; David S Whetstone
MUSC 281J Sitar (Juried) Beginning through advanced study of sitar in the gayaki ang style of Ustad Vilayat Khan. Previous musical experience is not necessary. Sitars are provided. Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; David S Whetstone
MUSC 282 Chinese Musical Instruments Beginning through advanced study on traditional Chinese instruments, pipa (Chinese lute), erhu (Chinese violin), guzheng (Chinese zither), zhongruan (Chinese moon guitar), hulusi, bawu and dizi (Chinese bamboo flutes). Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Gao Hong
MUSC 282J Chinese Musical Instruments (Juried) Beginning through advanced study on traditional Chinese instruments, pipa (Chinese lute), erhu (Chinese violin), guzheng (Chinese zither), zhongruan (Chinese moon guitar), hulusi, bawu and dizi (Chinese bamboo flutes). Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Gao Hong
MUSC 283 World Drumming Instruction World drumming instruction in various ethnic drumming styles including West African (Ghanaian instruments), Cuban (congas), North Indian (tabla) and Middle Eastern (dumbek). Equipment available for registered students. Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Jay L Johnson
MUSC 283J World Drumming Instruction (Juried) World drumming instruction in various ethnic drumming styles including West African (Ghanaian instruments), Cuban (congas), North Indian (tabla) and Middle Eastern (dumbek). Equipment available for registered students. Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Jay L Johnson
MUSC 284J American Folk Instrument (Juried) Beginning to advanced study of technique and improvisational styles on American folk instruments. Students may study 5-string banjo (bluegrass or clawhammer style), bluegrass guitar, Dobro©, fiddle (violin, viola, cello), bass, ukulele, mandolin, and accordion. The Music Department has a single mandolin, fiddle, banjo, and guitar (and two ukuleles) available for shared use by enrolled students unable to provide their own instruments. Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Mark Kreitzer
MUSC 284 American Folk Instruments Beginning to advanced study of technique and improvisational styles on American folk instruments. Students may study 5-string banjo (bluegrass or clawhammer style), bluegrass guitar, Dobro©, fiddle (violin, viola, cello), bass, ukulele, mandolin, and accordion. The Music Department has a single mandolin, fiddle, banjo, and guitar (and two ukuleles) available for shared use by enrolled students unable to provide their own instruments. Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Mark Kreitzer
MUSC 299 Recital A public music recital of a minimum of thirty minutes of solo performance (some chamber music may be included). Students enrolling in 299 do so in lieu of registering for applied lessons; 299 includes nine one-hour lessons. Normally 299 would be taken in the junior or senior year, and is repeatable one time. Fees and financial aid for 299 are the same as for two-credit applied lessons. Prerequisite: Permission of department. At least two terms of juried lessons at the 200 level. Students must have completed recital form and permission of the Music Department the term prior to the recital. 3 credits; ARP; Fall, Winter, Spring; Nikki Melville, Rick A Penning, Carson A King-Fournier, Zacc Harris, Matthew J Olson
MUSC 308 Seminar in Music Analysis An introduction to advanced analytical techniques for larger formal structure in Western Art Music repertoire from the classic, romantic and early twentieth century. Musical forms to be considered are binary, ternary, rondo, and variation forms, with particular emphasis on theories and analyses of sonata forms of eighteenth and nineteenth century music. Prerequisite: Music 110 or 204 or Instructor consent. 6 credits; LA; Not offered 2021-22
MUSC 313 Video Game Music: History, Interpretation, Practice Over the decades, video game music has evolved from simple beeps and boops into a genre that has garnered millions of fans worldwide. This course traces the history of video game music aesthetics and technology. We will consider how it relates to a variety of musical traditions and engages with broader social issues. We will learn to listen for loops, styles, structures, and function in games via direct engagement with primary sources: the games themselves. The course culminates in the practical application of knowledge via a creative project. 6 credits; LA, WR2; Winter; Brooke Okazaki
MUSC 332 Motown A research-based course focused on the people, music, and cultural contributions of the Motown Record Company from its antecedents throughout the mid-1980s. Prerequisite: The ability to read music and a previous music course, or permission of the instructor. 6 credits; LA, WR2, IDS; Not offered 2021-22
MUSC 334 Marvin Gaye This is a research-based course focused on the music and creative practices of Marvin Gaye, one of the most famous and successful popular vocalists of the 1960s and 1970s. We will begin with a furious survey of Gaye’s life and music, and move quickly into more critical readings. Along the way, students will develop individual research topics with the assistance of the instructor, and present findings to the group on a weekly basis. The seminar will culminate with individual student research presentations and a well-crafted research paper on a topic related to Gaye. Prerequisite: The ability to read music and a previous music course, or instructor consent. 6 credits; LA, WR2, IDS; Not offered 2021-22
MUSC 336 Moldy Figs and the Birth of Jazz Criticism In this course, students will investigate the interest of white literati in jazz during the 1930s and 1940 through the lens of former Carleton English professor Jack Lucas. A writer for the well-known jazz appreciation magazine Down Beat, Lucas taught courses about jazz in the 1950s, and donated his large historic record collection to the College. We will read early written criticism and consider issues of canonization of jazz. Students will create their own compilation of early jazz recordings according to a theme, revisiting a common form of agency among jazz critics during the 1950s. 6 credits; HI, WR2 Prerequisite: Music 126. Not offered 2021-22
MUSC 337 Music in Social Movements How, specifically, is music instrumental in social change? What musical choices are made, and by whom? How are new musics made, and old musics repackaged, to help mobilize social movements and create collective identity? We'll approach these questions through the work of diverse scholars and participants, through focused listening, and ultimately through guided student research projects. Among the social/musical movements we'll consider: Nueva cancíon, Rastafari, anti-Apartheid; the labor, civil rights, women's, anti-war, anti-nuclear and environmental movements, the Black Arts Movement, American Indian, Jesus, Hippie, and white nationalist Movements, and Black Lives Matter. No musical experience or previous coursework required. 6 credits; WR2, LA, IDS; Not offered 2021-22
MUSC 338 Sonic Spectacles in Minnesota and Beyond: Music as Heritage In the last fifty years, governments and transnational entities such as the United Nations Educational, Scientific, and Cultural Organization (UNESCO) have increasingly called to safeguard cultural practices and historic buildings around the world. Through trial and error, social scientists and policymakers have realized that such cultural heritage preservation programs come with unforeseen consequences, especially regarding musical performance and the communities that practice such traditions. This course is divided into two sections. First, we will concentrate on case studies from around the world, considering the advantages, detriments, and best practices for recognizing and celebrating music as heritage. We will debate questions such as: What is heritage? How can something ephemeral such as music be ‘conserved’ for generations to come? What role does the West play in shaping musical practices around the world, and for who do we want to ‘save’ the music? Who makes decisions of what music should or should not be safeguarded, and what are the implications for local practitioners? Second, we will explore music festivals and other music heritage projects specifically in Minnesota. Learning from the mistakes of the past, the course will culminate with a collaborative class project that will contribute to a sensitive yet productive endeavor to document oral histories of musicians, or plan a festival/performance on campus that highlights musical life in and around Northfield. 6 credits; LA, WR2, IDS; Spring; Sarah N Lahasky
MUSC 341 Rock Lab and Lab This class combines performance and academic study of rock music. In the first half of the course, we will learn to perform simple songs in small-group coaching sessions with a polished public performance as a midterm goal. During the second half of the course, we will make recordings of these performances. Throughout the term, we will accompany performance and recording activities with readings and discussion about aesthetics, performance practice in rock music, and mediation of recording techniques, all extraordinarily rich topics in popular music studies. No performance experience is needed. The course will accommodate students with a range of experience. Students will be grouped according to background, interest, and ability. There is a required hands-on laboratory component, which will be assigned before the start of the course. In these smaller groups, students will perform, record, and work with sound in small groups. Work will include experimentation with electric instruments, amplifiers, synthesizers, microphones, recording techniques, performance practice issues, musical production, mixing, and mastering. 6 credits; ARP, IDS; Spring; Andy A Flory
MUSC 342 Creative Music Performance Seminar Over the course of the term, each student will prepare the performance of a solo work, informed by the exploration of sources, comparison of recordings, score analysis, and performance science. Group meetings explore the pedagogy of musical, psychological, and intellectual preparation, and will guide improvement in technical and musical consistency during performance. Open to performers of all genres of applied music taught in the Carleton music department. Prerequisite: One term of 2 credit juried lessons on any instrument/voice or permission of instructor. 3 credits; ARP; Spring; Nikki Melville
MUSC 400 Integrative Exercise Required of senior majors. The integrative exercise may be fulfilled by completion of a significant composition, performance, or research-paper project. Students who wish to fulfill Music 400 with such projects must meet department-specified qualifying criteria. 6 credits; S/NC; Fall, Winter, Spring; Andy A Flory