MUSC 100: The Philosophy of Music

What Is Music? Are there any sounds that couldn’t ever be considered music? What exactly is a "musical composition," especially in the age of recorded music and sampling? How is music meaningful? Can music tell a story? Express an emotion? Convey a proposition? And if music can do any of these things, how does it do it? To explore these questions, we will discuss readings by contemporary musicians and philosophers, and musical examples ranging from Mozart to Muddy Waters and from Beethoven to the Beatles. 6; S/CR/NC; Arts and Literature; offered Fall 2009 -- J. London

MUSC 101: Music Fundamentals

A course designed for students with minimal or no music background as preparation for other music courses and/or applied music study. The course covers the fundamentals of music including note reading in treble and bass clefs, rhythms, meter, scales, intervals, key signatures, chords, basic harmony and musical forms. The class will make regular use of the music computer lab for assignments. 3; Arts and Literature; offered Spring 2010 -- J. Ellinger

MUSC 102: Basic Musicianship

This course will enable students to develop proficiency in aural and music reading skills. Open to all students, but especially recommended for students who are considering a major in music or enrolling in voice lessons and choir. 3; Arts and Literature; offered Fall 2009 -- L. Burnett

MUSC 108: Introduction to Music Technology

A course designed to use the computer as a musical instrument. Studying the low level details of the MIDI language, standard MIDI files, MIDI sequencing and digital audio techniques, projects will focus on getting the computer to play music expressively, with all the nuances of a human performance: rhythm, dynamics, articulation, and tempo; producing original arrangements of music written in Excel spreadsheets using the raw MIDI language and then rendered on the computer as standard MIDI files; and will involve the musical realization of an original musical score or arrangement from notation to MIDI to digital audio to effects processing and mastering on an audio CD. The class will make use of the music computer lab for projects. Open to all students with an interest in music or computers. Prerequisite: Ability to read music. 6; Does not fulfill a distribution requirement; offered Winter 2010 -- J. Ellinger

MUSC 110: The Music of Bach, Beethoven, and Brahms

This course will provide a brief introduction to music theory concepts relevant to eighteenth- and nineteenth-century western art music and utilize that knowledge to better understand the music of the "Three B's: Bach, Beethoven, and Brahms. Prerequisite: the ability to read music. 6; Arts and Literature; not offered 2009-2010

MUSC 111: Western Art Music and Western Civilization

An introduction to the history of western art music from the Middle Ages to the present. The emphasis is on the various styles of the western tradition (Medieval, Renaissance, Baroque, Classical, Romantic, and Modern) and their relationships with other aspects of European and Euro-American high culture. Representative compositions from each of these periods will be studied through reading and guided listening. No prerequisite: the ability to read music is not necessary. 6; Arts and Literature; offered Winter 2010 -- L. Archbold

MUSC 115: Music and Film

This course explores the history and development of film music along with theories of how music contributes to the meaning of moving images and narrative scenes. The primary focus of the course will be on film music in the U.S., but notable film scores from Europe and Asia will also be discussed. The film music history covers historical periods from the pre-cinematic Vaudeville era through the postmodern films of the early twenty-first century. Cross-cutting this chronological history will be discussion of film musicals as a separate genre. Ability to read music not required. 6; Arts and Literature; not offered 2009-2010

MUSC 117: Introduction to Composition

Two class meetings and one individual session per week. In contrast to Music 220, this class does not require a background in music theory. It is designed for the person who has an interest in exploring the process of writing music. Class meetings will introduce techniques of composition and present structured exercises. Individual sessions will focus on the student's own projects. Class assignments will involve the opportunity to use computer/midi/synthesizer technologies. Prerequisite: the ability to read music. 6; S/CR/NC; Arts and Literature; offered Spring 2010 -- A. Freeman

MUSC 120: Introduction to Opera

A survey of opera and its history with special emphasis on four major works, one each by Mozart, Bizet, Wagner, and Stravinsky. Operas will be studied through video presentation, listening, and readings. Librettos available in translation; ability to read music not required. 6; Arts and Literature; not offered 2009-2010

MUSC 121: Music and Text: Songs from Beethoven to Ben Folds

This course will provide an overview of the song cycle genre from its beginning up to and including some popular albums. Our goal is to enhance listening and analytical skills through reading and listening assignments, in-class discussions, and analyses. Ability to read music not required. 6; Arts and Literature; offered Spring 2010 -- A. Freeman

MUSC 122: Symphonies from Mozart to Mahler

A survey of orchestral symphonies and related genres from the late eighteenth through the late nineteenth centuries with emphasis on the works of Mozart, Beethoven, Berlioz, Schubert, Schumann, Brahms, Mahler, and others. Symphonies will be studied through listening and readings; connections to other aspects of nineteenth-century European culture will be explored. Ability to read music not required. 6; Arts and Literature; offered Spring 2010 -- L. Archbold

MUSC 124: Survey of Piano Music

A survey of the changing styles, forms, and performance practices in solo piano music from the eighteenth century to the present. Emphasis will be on the development of compositional and performance practices through studying composers and performers of keyboard music. Prerequisite: the ability to read piano scores. 2; Arts and Literature; not offered 2009-2010

MUSC 125: The Piano: Uses and Abuses

From the royal courtrooms of eighteenth-century Europe, through the rise of the bourgeoisie, to controversial and conceptual art of the twentieth century, the piano is inextricably linked to the important compositional and social trends of western music over the last three hundred years. It is at the center of social intercourse in the nineteenth century; it is the target of humor, destruction and abuse in film, pop music and performance art of the twentieth century. This class will examine the people, music, and cultural trends that have made the piano such a ubiquitous and central figure in music history. 6; Arts and Literature; offered Fall 2009 -- N. Melville

MUSC 128: Conducting

The course covers the fundamentals of conducting such as beat patterns, baton technique, score reading, cueing, fermatas, and releases. The class will function as an ensemble, and each student will conduct short assignments once each week, or as frequently as possible. Near the end of the term each student will form a small volunteer ensemble for a final conducting project. Prerequisite: ability to read music and active participation in a major faculty-coached ensemble, or permission of the instructor. 2; Arts and Literature; not offered 2009-2010

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. No prerequisite. 6; Arts and Literature; offered Spring 2010 -- S. Kelly

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; Arts and Literature; not offered 2009-2010

MUSC 137: Spiritual Hymns and Gospel Music: Aspects of African-American Music Traditions

The survey of African-American hymns, spirituals and gospel music in the worship service and on the concert stage. The course of study will place the music and its creators within the historical, social, and cultural contexts of life in the United States, from the earliest days to the present. This framework will provide an appreciation for how the music tells the story of African-Americans, how the music affects audiences throughout the world, and how the traditions influence other musical expressions. The approach of the study is performance based with particular attention to the simularities and differences of musical forms, styles and performance practices of western art music. No prerequisite. 6; Arts and Literature, Recognition and Affirmation of Difference Requirement; not offered 2009-2010

MUSC 140: Introduction to World Music I

A survey of the world's musical traditions, usually including areas of Africa, Indonesia, the Middle East, Europe, and China. Both traditional and popular music will be considered, with emphasis on developing listening skills, and on understanding relationships between musical cultures, roles of music in social life, and varieties of change in musical style and practice. Ability to read music is not necessary. No prerequisite. 6; Arts and Literature, Recognition and Affirmation of Difference Requirement; offered Spring 2010 -- Staff

MUSC 141: Introduction to World Music II

A survey of the world's musical traditions, usually including music of India, Japan, native and transplanted traditions in North and South America, and selected European traditions. Both traditional and popular music will be considered, with emphasis on developing listening skills, and on understanding relationships between musical cultures, roles of music in social life, and varieties of change in musical style and practice. Ability to read music is not necessary. No prerequisite. 6; Arts and Literature, Recognition and Affirmation of Difference Requirement; not offered 2009-2010

MUSC 142: Latin American Popular Music

Examines Latin American popular musics within their social, political and cultural contexts. Genres include tango, samba, vallenato, nueva canción, tropicália, rock nacional and funk carioca; themes include music and the nation, music and dictatorship, the crisis of cultural inclusion and exclusion in contemporary Latin America. Understanding how these musics are framed by broader assumptions regarding race, class, gender and ethnicity at multiple levels will be a key concern. Our focused listening will be complemented with analytical, critical and contextual readings, including relevant selections from Latin American literature in translation and occasional film screening. No musical experience is required. 6; Arts and Literature, Recognition and Affirmation of Difference Requirement; offered Spring 2010 -- M. Luker

MUSC 200: Music Theory I

An introduction to the theory and analysis of music, beginning with the basic elements of musical pitch, rhythm, and harmony in a variety of musical styles, from classical to popular. The course covers the syntax of diatonic chord progressions, identifying cadences, basic melodic construction, and the description and analysis of short pieces in a single key. Also involves work in sight singing and aural skills. Students have assignments using the computers in the Music Resource Center and become conversant with musical notation programs and MIDI workstations. Three class meetings per week plus two aural skills labs. Prerequisite: Ability to read music in at least one clef. 6; Arts and Literature; offered Fall 2009 -- R. Rodman

MUSC 201: Music Theory II

Advanced diatonic and introductory chromatic harmony, with an emphasis on chord function, tonicizations and basic modulatory techniques. Also two voice schemas in the Galant musical style, with related compositional exercises. Students continue assignments on the computers in the Music Resource Center. Continued work in sight singing, aural skills, and contextual analysis of musical works in a variety of styles. Three class meetings per week plus two aural skills labs. Prerequisite: Music 200. 6; Arts and Literature; offered Winter 2010 -- J. London

MUSC 202: Theory III

The theory and analysis of larger musical forms. Large forms (Rondo, Theme and Variations, and Sonata Form) will be surveyed and analyzed, with an increased emphasis on writing about musical structure. Important sources in formal theory (including Reicha, Czerny, A.B. Marx, and Schoenberg) are read and discussed; the course involves a major research paper in musical analysis. Continued work in sight singing and aural skills. Three class meetings per week plus aural skills lab. Prerequisite: Music 201. 6; Arts and Literature; offered Spring 2010 -- J. London

MUSC 203: Music of the Twentieth Century I

This five-week course, open to non-majors and required for Music majors, is an overall survey of the music of the twentieth century. Prerequisite: Ability to read music. 3; Arts and Literature; offered Fall 2009 -- A. Freeman

MUSC 210: Medieval and Renaissance Music

A study of the most characteristic forms of music from 800 to 1600 in the western tradition. Prerequisite: the ability to read music. 6; Arts and Literature; offered Winter 2010 -- S. Kelly

MUSC 211: Baroque and Classical Music

An examination of western art music of the seventeenth and eighteenth centuries, including Monteverdi, Bach, Handel, Haydn, Mozart and Beethoven. Prerequisite: Music 200 or consent of the instructor. 6; Arts and Literature; offered Winter 2010 -- L. Archbold

MUSC 220: Composition

Two class meetings and individual instruction. Classes are devoted to the study of compositional techniques, analysis of relevant works, and computer/midi/synthesizer technologies. Individual instruction is focused on the student's original compositions. Prerequisites: Music 201 or Music 117 with consent of the instructor. 6; Arts and Literature; offered Winter 2010 -- A. Freeman

MUSC 225: Orchestration

Study of the instrumentation, ranges and capabilities of individual instruments, and the possibilities of instrumental combinations. Students will write and arrange short instrumental works for readings in the class. Demonstration of each instrument. Beginning score analysis. Prerequisite: Music 201 and prior ensemble experience, or consent of the instructor. 6; Arts and Literature; not offered 2009-2010

MUSC 227: Introduction to the Perception and Cognition of Music

Covers basic issues in auditory perception and cognition with an emphasis on pitch perception, including sensory discrimination, categorical perception, roughness and dissonance, and auditory streaming. The basic aspects of experimental design and elementary statistical analysis will also be covered. Student teams will prepare summaries of class readings (and lead class discussions); analyze and discuss data collected from in-class experimental demonstrations, and reproduce classic experiments in music perception. For a final project each student will write a modest term paper on a topic of their choosing (after consulting with the instructor). Prerequisite: A previous course in music or psychology, or permission of the instructor. 6; Social Sciences; offered Spring 2010 -- J. London

MUSC 243: Music of the Caribbean

This course will introduce the musical traditions and socio-cultural contexts of a number of Caribbean nations, usually including Cuba, the Dominican Republic, Haiti, Jamaica, Puerto Rico, Trinidad, and the French Antilles. Both popular and African-derived sacred genres will be examined. While each island has unique and varied traditions, a number of themes relevant to Caribbean ethnomusicology will underlie each unit and tie them together. These include issues of acculturation, race, class, politics, nationalism, and globalization, and how these issues shape and are shaped by musical practices. Prerequisite: Familiarity with basic music terminology or permission of the instructor. 6; Arts and Literature; not offered 2009-2010

MUSC 245: Music of Africa

An introduction to the music of sub-Saharan Africa, including music of the Manding, Yoruba, Ashanti, Mbuti, and Shona. Traditional and popular styles will be explored. The relationships of music and society are examined with particular attention to ethnic identity, political life, religion, and gender roles. 6; Arts and Literature; not offered 2009-2010

MUSC 246: Traditional Folk Music of the U.S. and British Isles

Introduces students to the folk traditions of England, Ireland, Scotland, and to Anglo-American traditions in the United States. Emphasis is on understanding the musical and social values and structures underpinning the traditions. Genres include English, Scottish, and American ballad types and Irish vocal and instrumental music. Topics include musical change, class, gender, and the role revivals. Prerequisite: Familiarity with basic musical terminology. 6; Arts and Literature; not offered 2009-2010

MUSC 247: The U.S. Folk Music Revival

This course examines the folk revival movement in the United States from circa 1930 to the present, with emphasis on the period from 1958-1970. Topics include: the historical basis of musical style in the revival, the role of recorded music, the social construction of a "folk music" milieu, and detailed consideration of the music of several major figures of the period, including Pete Seeger, Woody Guthrie, Phil Ochs, Bob Dylan, Joan Baez, and others. Prerequisite: Students should be conversant with basic music terminology. 6; Arts and Literature; not offered 2009-2010

MUSC 248: Music of India

This course will concentrate on the classical Hindustani and Karnatak music traditions of North and South India, respectively. Fundamental theoretical elements will be introduced and used to analyze a variety of vocal and instrumental genres; developing evaluative listening skills will be emphasized. We will also consider the socio-cultural contexts of various historical periods, and how these have affected music and dance practice. In addition to the concert traditions of vocal and instrumental music, topics covered also will include devotional, folk, and popular genres, as well as classical dance. Prerequisite: Familiarity with basic music terminology or permission of the instructor. 6; Arts and Literature; not offered 2009-2010

MUSC 303: Music of the Twentieth Century II

This five-week course, required for Music majors, is primarily an analysis class designed to equip the major with analytical techniques in non-tonal music from Schoenberg to the avant-garde. Prerequisites: Music 202 and 203. 3; Arts and Literature; offered Fall 2009 -- A. Freeman

MUSC 307: Seminar in Music Analysis

An introduction to advanced analytical techniques for larger formal structure in musical repertoire from the classic, romantic and early twentieth century. Prerequisite: Music 201. 4; Arts and Literature; not offered 2009-2010

MUSC 312: Romantic Music

An examination of western art music of the nineteenth and twentieth century, including Schubert, Berlioz, Brahms, and Wagner. Prerequisite: Music 201 and 211 or consent of the instructor. 6; Arts and Literature; offered Spring 2010 -- L. Archbold

MUSC 330: Jazz History Seminar

A research seminar in jazz history, this course will introduce students to the basic bibliographic tools, historical artifacts, and critical tradition of the field. Students will present short oral and written reports on selected examples of this material in preparation for a major research paper on a topic chosen in consultation with the instructor. Prerequisites: Music 110, 130 or permission of the instructor. 6; Arts and Literature; not offered 2009-2010

MUSC 398: Music Major Colloquium

The music major colloquium is required for all music majors. The general purpose of the course is to introduce students to some of the issues and techniques of research in music history and theory. Prerequisite: Music major standing. 2; S/CR/NC; Does not fulfill a distribution requirement; offered Fall 2009, Spring 2010 -- L. Archbold

MUSC 400: Integrative Exercise

Required of senior majors. The integrative exercise may be fulfilled by completion of a significant composition, lecture-recital, or research-paper project. Students who wish to fulfill Music 400 with such projects must meet department-specified qualifying criteria. Music Major Colloquium (Music 398) is a preparatory course required before students may enroll for Music 400. 1-4; S/NC; offered Fall 2009, Winter 2010, Spring 2010 -- L. Archbold