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Your search for courses for 21/FA and in WCC 230 found 7 courses.

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ECON 111.02 Principles of Microeconomics 6 credits

Closed: Size: 30, Registered: 29, Waitlist: 0

Weitz Center 230


Other Tags:

Synonym: 61311

Prathi Seneviratne

This course gives the students a foundation in the general principles of economics as a basis for effective citizenship and, when combined with 110, as a preparation for all advanced study in economics. Topics include consumer choice theory; the formation of prices under competition, monopoly, and other market structures; the determination of wages, profits, and income from capital; the distribution of income; and an analysis of policy directed towards problems of public finance, pollution, natural resources, and public goods.

LING 217.00 Phonetics and Phonology 6 credits

Open: Size: 25, Registered: 14, Waitlist: 0

Weitz Center 230

Synonym: 62053

Jenna Conklin, Daniel K Haataja

Although no two utterances are ever exactly the same, we humans don't function like tape recorders; we overlook distinctions to which mechanical recording devices are sensitive, and we "hear" contrasts which are objectively not there. What we (think we) hear is determined by the sound system of the language we speak. This course examines the sound systems of human languages, focusing on how speech sounds are produced and perceived, and how these units come to be organized into a systematic network in the minds of speakers of languages.

Prerequisite: 100-level Linguistics course

MUSC 101.00 Music Fundamentals 3 credits

Open: Size: 15, Registered: 9, Waitlist: 0

Weitz Center 230


Requirements Met:

Synonym: 61346

Ronald Rodman

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.

MUSC 110.00 Theory I: The Materials of Music 6 credits

Open: Size: 25, Registered: 16, Waitlist: 0

Weitz Center 230


Requirements Met:

Synonym: 61394

Ronald Rodman

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.

MUSC 111.00 Music and Storytelling 6 credits

Open: Size: 30, Registered: 10, Waitlist: 0

Weitz Center 230

Synonym: 61347

Brooke Okazaki

Western music, especially classical music, is often called a “dead” genre. Part of this has to do with its associations with wealth, its aging audience base, and its seeming loftiness. But is this music really dead? In this class we will explore the history of Western music, with classical music as a starting point, but will examine the numerous ways music functions throughout cultures to tell different kinds of stories. We work from the assumption that no music (or art in general) is apolitical; because of this it behooves us to examine the ways the music of the past is deployed in service of social and political values today, whether it is to convince us to buy pizza or to incite revolution.

MUSC 140.00 Ethnomusicology and the World's Music 6 credits

Open: Size: 25, Registered: 9, Waitlist: 0

Weitz Center 230

Synonym: 61515

Sarah N Lahasky

This course is designed to increase your awareness of the role of music as a part of social, political, and economic life. While popular music consumption for entertainment is one interaction that you might have had with music, there are myriad other meanings and uses for music in the United States and around the world. Some of these uses and meanings are obviously apparent to the average listener, and others are less so. Throughout the course, we will be exploring a variety of ways that people use, engage, and identify with music from various regions. The course is organized geographically, beginning with the US/Western Europe and then moving to parts of Asia, the Middle East, Africa, the Caribbean, and Latin America. Each week, we will focus on particular themes related to “traditional,” classical, or popular music to analyze in the context of our geographic case studies. Throughout the course, you will have the opportunity to apply concepts from class to your own musical case study. The culminating course project will consist of an ethnography of your chosen case study. No musical experience necessary.

Sophomore Priority

MUSC 144.00 Music and Migration 6 credits

Open: Size: 25, Registered: 16, Waitlist: 0

Weitz Center 230

Synonym: 61386

Sarah N Lahasky

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.

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You must take 6 credits of each of these.
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except Quantitative Reasoning, which requires 3 courses.
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