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, 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, 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.
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 2020-21)
- AFST 125 New African Migrations (not offered in 2020-21)
- 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 2020-21)
- HIST 121 Rethinking the American Experience: American Social History, 1865-1945 (not offered in 2020-21)
- HIST 122 U.S. Women's History to 1877 (not offered in 2020-21)
- HIST 123 U.S. Women's History Since 1877 (not offered in 2020-21)
- HIST 125 African American History I: From Africa to the Civil War
- HIST 126 African American History II (not offered in 2020-21)
- MUSC 110 Theory I: The Materials of Music
- MUSC 204 Theory II: Musical Structures
- RELG 140 Religion and American Culture (not offered in 2020-21)
- SOAN 110 Introduction to Anthropology
- SOAN 111 Introduction to Sociology
- WGST 110 Introduction to Women's and Gender Studies (not offered in 2020-21)
- WGST 112 Introduction to LGBT/Queer Studies (not offered in 2020-21)
- Soundtracks of America: 18 credits, at least one course must be at the 200-level or above
- AMST 269 Woodstock Nation
- CAMS 242 Sound and Music in TV and New Media (not offered in 2020-21)
- MUSC 111 Music and Storytelling in the Western World
- MUSC 115 Listening to the Movies
- MUSC 121 Songs of Love, State, and Self (not offered in 2020-21)
- MUSC 123 The American Film Musical (not offered in 2020-21)
- MUSC 130 The History of Jazz
- MUSC 131 The Blues From the Delta to Chicago (not offered in 2020-21)
- MUSC 136 History of Rock (not offered in 2020-21)
- MUSC 140 Ethnomusicology and the World's Music (not offered in 2020-21)
- MUSC 208 Computer Music and Sound
- MUSC 210 Women and Gender in Western Art Music (not offered in 2020-21)
- MUSC 211 Western Music and its Social Ecosystems, 1600-1830
- MUSC 212 Sex, Music, and the Virtuoso (not offered in 2020-21)
- MUSC 215 Music Theater in America (not offered in 2020-21)
- MUSC 216 God, Emotion, and Meaning in Seventeenth and Eighteenth-Century Music (not offered in 2020-21)
- MUSC 217 Opera: Stage, Screen, Recording (not offered in 2020-21)
- MUSC 218 Listening to Dance Music (not offered in 2020-21)
- MUSC 219 The Musical Avant-Garde (not offered in 2020-21)
- MUSC 232 Golden Age of R & B
- MUSC 245 Tradition, Innovation, and Globalization in African Music
- MUSC 247 1950s/60s American Folk Music Revival (not offered in 2020-21)
- MUSC 248 Music of South Asia
- MUSC 311 Art Music and Power (not offered in 2020-21)
- MUSC 341 Rock Lab and Lab (not offered in 2020-21)
- Research Seminar 6 credits
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, 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.
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 Ways of Hearing People hear differently. In this course we will consider various “ways of hearing.” We will study topics like historical recreation, physiology and cognitive studies of music, thinking like a composer and musical writing, ethnographic listening, hearing like a performer, and how music creates meaning. There are distinct paths to continue each of the topics, and we will explore opportunities for students to extend these musical interests while at Carleton. "Do you hear what I hear?" asks the famous song. Perhaps not. As we will see, the range of musical activity and interest among our peers can be extremely vast. 6 credits; AI, WR1; Fall; Andy Flory
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; Spring; 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; Fall; Ronald Rodman
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; Winter; 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; Andrea Mazzariello
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 in the Western World Music is about relationships. Music is literally a series of relationships between organized sounds, but beyond that it is also about relationships between people. Through music, human beings tell stories about who they are, where they come from, what they value, and what dreams they hold for the future. In this course, the concept of storytelling via organized sound provides a framework for students to understand music in the “Western” world and its relationship to people and their values at given times and places. Instead of a chronological history, this course explores a series of topics where music and narrative intersect: mythology, dance, religion, politics, instrumental music, and audiovisual genres. Students will acquire the ability to write about sound and its meaning via blog posts, interpretive listening assignments, and a final creative project that incorporates personal experience with musical description. An ability to read music not required. 6 credits; LA, WR2; Spring; Brooke Okazaki
MUSC 115 Listening to the Movies We all watch movies, whether it’s in a theater, on television, a computer, or a smart phone. But we rarely listen to movies. This class is an introduction to film music and sound and how it changed based on technological and stylistic developments from the silent era to the present day. Throughout the term, students will watch, speak, and write about a variety of films in order to develop literacy in theories of film music and sound. Class assignments including quizzes, cue charts, and short essays will culminate in a final project that may take the form of an analytical term paper or creative project designed by the student in consultation with the instructor. An ability to read music not required. 6 credits; LA, WR2; Spring; Brooke Okazaki
MUSC 121 Songs of Love, State, and Self Humble in means but mighty in meaning, the song has given voice to every human emotion. Devout believers use song for worship, prima donnas sing for love or tragedy, and popular songsters tell stories through song. Anthems convey national identity while show-tunes offer an escape from reality. In this course students will encounter many types of song and learn how they are composed, where they are sung, and what power they have over us. Class activities include discussion and singing, and assignments include song identification and analysis. Prerequisite: Ability to read music not required. 6 credits; LA, WR2; Not offered 2020-21
MUSC 123 The American Film Musical A survey of film musicals from their beginnings in the 1920s to the present. The course will cover the definition and attributes of film musicals, how a film musical differs from a film with music, and then continue with a historical survey of various eras of musicals, such as early sound film musicals, the film musical at its zenith, the adaptation of Broadway musicals to the screen, and current postmodern musicals and animated musicals by Disney and Pixar. The course will also discuss how musicals convey evolving cultural attitudes of gender, race, ethnicity, and sexual orientation, as well as good vs. evil. 6 credits; LA, IDS; Not offered 2020-21
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 deace of the 1980s. 2 credits; HI; Spring; Kevin Beacham, Andy A Flory
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; Andy A Flory
MUSC 128 Conducting Learn the fundamentals of instrumental and choral conducting including gesture, beat patterns, score reading, and beginning rehearsal techniques. Students in this course will form a laboratory ensemble that participants lead as a means of gaining conducting experience and experimenting with the relationship between gesture and sound. Prerequisite: Ability to read music. 3 credits; ARP; Spring; Matthew J Olson
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; Winter, Spring; Andy A Flory
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; Not offered 2020-21
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 2020-21
MUSC 140 Ethnomusicology and the World's Music This course introduces the discipline of ethnomusicology and its history, theory, methods, and contemporary critiques. Centering the social and cultural analysis of music, the course explores case studies of global popular, vernacular, and classical musics. We will expand our skills as listeners while also considering key issues, such as the “world music” market; ethnographic methods; gesture, dance, and embodiment; copyright and repatriation; the role of media forms and AI technologies; and the politics of representation. No musical experience necessary. 6 credits; LA, IS, WR2; Not offered 2020-21
MUSC 142 Musical Theater Practicum The Last Five Years, Jason Robert Brown’s musical about a writer/aspiring Broadway performer couple, dramatizes the exhilaration and frustration of going to audition after audition on the way to a big break. This theme is exploited countless times in American musicals, precisely because singers and actors face countless auditions. In this course, students will gain historical and theoretical knowledge of the musical theater genre, a deeper knowledge of the craft, and be better prepared to face auditions of any kind. Final projects may be small-scale performances of solos, duets, or a full-class ensemble number. 6 credits; ARP; Not offered 2020-21
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; Not offered 2020-21
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, 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, 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; Andrea Mazzariello
MUSC 155 Violin 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Hector L Valdivia, Liz M Ericksen, Susan M Crawford
MUSC 155J Violin (Juried) 1 credit; ARP; Fall, Winter, Spring; Hector L Valdivia, Liz M Ericksen, Susan M Crawford
MUSC 156 Viola 1 credit; S/CR/NC; ARP; Fall, Winter, Spring; Hector L Valdivia, Liz M Ericksen, Susan M Crawford
MUSC 156J Viola (Juried) 1 credit; ARP; Fall, Winter, Spring; Hector L Valdivia, Liz M Ericksen, 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 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, Sarah C Burk
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, Sarah C Burk
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, Sarah C Burk
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, Sarah C Burk
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 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 accordian. 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 accordian. 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; 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; 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; Fall, Winter, Spring; Ronald Rodman
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; Fall, Winter, Spring; Laura S Caviani, Dave Schmalenberger
MUSC 191 African Karimba Ensemble This ensemble focuses on the 15-key Shona (Zimbabwe) karimba (sometimes called a "thumb piano"). Beginning students learn the fundamentals of solo and group playing on the karimba. No musical training or experience is necessary. 1 credit; ARP, IS; Not offered 2020-21
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; 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, Gao Hong, Hector L Valdivia, Martha N Jamsa, Liz M Ericksen, Nina E Olsen
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, Sarah C Burk
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; 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; 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; 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; Fall; Andrea Mazzariello
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 2020-21
MUSC 210 Women and Gender in Western Art Music This course explores the ways gender ideologies are enmeshed in the history of Western art music and how these ideologies resonate in music culture today. Drawing on methods from feminist and queer theory and criticism, the class considers representations of gender, the body, and sexuality by male, female, and transgender musicians. Analysis will focus on musical contributions by female and transgender musicians. Prerequisite: Previous classroom course in Music department or instructor permission; not open to students who have taken Music 100 Women and Classical Music. 6 credits; HI, WR2; Not offered 2020-21
MUSC 211 Western Music and its Social Ecosystems, 1600-1830 Western classical music, especially in the academy and the concert hall, enshrines the white racial frame. In this class we begin deconstructing that music’s white racial frame by interrogating how the classical canon came about, what it entails, and acknowledging how it is active in musical activities (called musicking) of the past and present. We will study the relationships between performers, listeners, and composers (social ecosystems) and consider the music and stories of those who have historically been excluded from the canon, including BIPOC, LGBTQIA+, and female artists. Through a variety of assignments including online posts, in-class discussions, and a final project that can take the form of a written paper or creative work, students will develop critical thinking, listening, and communication skills to help them succeed in their various musical endeavors. An ability to read music is not required, but students should be prepared to think deeply about sound and its meanings. 6 credits; LA, WR2; Winter; Brooke H McCorkle
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 2020-21
MUSC 213 Music and Religion Music and religion are united through philosophical precepts, but also through practical means. In this course we will encounter philosophical ideas about music as well as examine sacred musical practices of various religions, including Christian, Jewish, Muslim, and Hindu. Students will analyze what function music holds in liturgies of many traditions. The final project will involve visiting local services to observe first-hand how religions use music. No previous music experience required. 6 credits; LA; Not offered 2020-21
MUSC 215 Music Theater in America This course outlines the history of the musical from Tin Pan Alley, through the golden age of Broadway with Rodgers and Hammerstein, to the current sensation "Hamilton," passing through the works of Stephen Sondheim. We will study the development of this hybrid genre by considering musical elements such as form, instrumentation, and harmony as well as dramatic, choreographic, and staging components. Additionally, social questions such as the representation of women and minority cultures, as they concern the works themselves and their audiences, will guide our readings and class discussion. Ability to read music not required. 6 credits; LA, WR2, IDS; Not offered 2020-21
MUSC 216 God, Emotion, and Meaning in Seventeenth and Eighteenth-Century Music What is it about the music of a Mass or cantata that inspires a feeling of reverence? What about an opera’s music creates drama? What emotions can be spurred by listening to a symphony? In this class, students will encounter different genres and styles of music from the Baroque and Classical period and ask what—and how—each one communicates to its audience. Repertory will be drawn from Bach, Gluck, Elisabeth Jacquet de la Guerre, Mozart, Haydn, and Beethoven and will be placed in the context of major intellectual and political movements. Prerequisite: Music 110 or Music 201 or Music 204 or instructor permission. 6 credits; LA, WR2, IS; Not offered 2020-21
MUSC 217 Opera: Stage, Screen, Recording Opera has something for everyone: drama, desire, politics, stagecraft, design. The medium sets life to music and reveals the music within people’s lives. In the spirit of exchange between art and reality, this course looks at the history of opera through a contemporary lens. Centering on a diverse collection of operas—and voices—from past to present, we’ll ask how modern sensibilities animate the music’s production and performance. We’ll bring concepts of relevance, risk, representation, and justice to bear on opera, with attention to media and technology. We’ll listen to recent operatic interpretations and discover how creatives are making opera new. Prerequisite: None, ability to read music is not necessary. 6 credits; LA, WR2; Not offered 2020-21
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 2020-21
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 2020-21
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; Winter; Andrea Mazzariello
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; Fall, Spring; Andrea Mazzariello
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 2020-21
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 2020-21
MUSC 224 Collaborative Composition in Community Partnership In this composition course, students will co-create music with youth at The Key, a youth-led, youth services organization in downtown Northfield. 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; Winter, Spring; Andrea Mazzariello
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; Spring; Justin M London
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; Spring; Justin M London
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; Spring; Andy A Flory
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 2020-21
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; Fall; Melinda Russell
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; Winter; Melinda Russell
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; Winter; Deborah Appleman, Ronald Rodman, Melinda Russell
MUSC 247 1950s/60s American Folk Music Revival Through scholarship and music-making, we’ll explore 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, Odetta, et al. No musical experience necessary; you need not read musical notation. Section 1 (beginning folk guitar–instruments provided) only for those with no 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; Not offered 2020-21
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; Fall; Melinda Russell
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
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
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; Andrea Mazzariello
MUSC 255 Violin Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Hector L Valdivia, Liz M Ericksen, Susan M Crawford
MUSC 255J Violin (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Hector L Valdivia, Liz M Ericksen, Susan M Crawford
MUSC 256 Viola Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Hector L Valdivia, Liz M Ericksen, Susan M Crawford
MUSC 256J Viola (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Hector L Valdivia, Liz M Ericksen, Susan M Crawford
MUSC 257 Cello Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; Thomas Rosenberg, Zachery W Pelletier
MUSC 257J Cello (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Thomas Rosenberg, Zachery W Pelletier
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; Ann Pesavento
MUSC 263J Bassoon (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; Ann Pesavento
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 Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; JC C Sanford
MUSC 266J Trombone (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; JC C Sanford
MUSC 267 Tuba Prerequisite: Instructor Permission. 2 credits; S/CR/NC; ARP; Fall, Winter, Spring; JC C Sanford
MUSC 267J Tuba (Juried) Prerequisite: Instructor Permission. 2 credits; ARP; Fall, Winter, Spring; JC C Sanford, Ronald Rodman
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 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, Sarah C Burk
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, Sarah C Burk
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, Sarah C Burk
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, Sarah C Burk
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, mandola, mandocello 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, mandola, mandocello 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; Ann Pesavento, Martha N Jamsa, Rick A Penning, Liz M Ericksen, Zacc Harris, Hector L Valdivia, KrisAnne E Weiss, Gao Hong
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 2020-21
MUSC 311 Art Music and Power In the twentieth century, the U.S. and Western Europe saw a sharp rise in totalitarian governments that weaponized all parts of culture as part of their quest for ultimate control. These governments used music as propaganda and hired art composers whose skill could demonstrate the preeminence of their homeland, and who were required to pledge ideological loyalty. In this class, students will conduct research on twentieth-century art music that was used to promote or subvert state authority. They will seek to understand aesthetics, identity, contracts, social networks, musical form and style, and reception. Prerequisite: Ability to read music or instructor permission. 6 credits; LA, WR2, IS; Not offered 2020-21
MUSC 312 Romantic Music An examination of western art music of the nineteenth and twentieth centuries, including Schubert, Berlioz, Brahms, and Wagner. Prerequisite: Music 110 or 204 or instructor permission. 6 credits; LA, WR2; Not offered 2020-21
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 2020-21
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; Fall, Winter; Andy Flory
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 2020-21
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 2020-21
MUSC 340 Advanced Composition Seminar An advanced seminar in music composition for students with previous course work or compositional experience. Class will meet weekly as a group as well as individually with the instructor to work on compositional projects. Students will compose works in a range of styles and using a variety of media. Prerequisite: Music 208, 220 or instructor permission. 6 credits; ARP; Not offered 2020-21
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; Not offered 2020-21
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; Winter; Hector L Valdivia
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; Ronald Rodman