Music (MUSC)
Chair: Professor Lawrence E. Burnett
Professors: Lawrence L. Archbold, Lawrence E. Burnett, Stephen K. Kelly, Justin M. London, Phillip C. Rhodes, Ronald W. Rodman
Associate Professors: Melinda Russell, Hector Luis Valdivia
Assistant Professor: Nicola Melville
Visiting Assistant Professor: Bruce P. Gleason
Senior Lecturers: Jackson Bryce, John Ellinger, Kenneth Huber, Mark Krusemeyer, Marcia R. Widman
Lecturers: Benjamin Allen, Lynn Deichert, Julie Elhard, Elizabeth M. Ericksen, Janean Hall, Mary Budd Horozaniecki, Jay L. Johnson, Merilee I. Klemp, Mary Boyd Martz, Elinor Niemisto, Nina Olsen, Rick Penning, David Saunders, David Singley, David Whetstone
Adjunct Instructors: Gwen Anderson, Laura Caviani, Kevin Clements, James Flegel, Martha Jamsa, Constance K. M. Martin, Matthew McCright, Thomas Rosenberg
General Information:
The program of the Music Department encompasses a wide variety of learning methods appropriate to a liberal arts education. Courses in history, literature, theory, analysis, composition, ethnomusicology, and performance focus on different aspects of music and are designed for students at all levels of musical experience. The goal of the Music Department is to provide the opportunity for students not only to continue developing the particular musical interests they bring to Carleton, but to broaden and expand those interests into new areas of study. A variety of courses with minimal or no prerequisites are open to all students, and Music 110 (Introduction to the Study of Music) leads into more specialized survey courses for both majors and non-majors.
In addition to Music 110, Music 100, 101, 102, 108, 111, 115, 117, 120, 121, 124, 130, 131, 133, 135, 137, 140, 141 and courses in applied music may be elected by students with little or no previous knowledge of music. Students interested in other music courses should consult the instructor concerned if in doubt as to the adequacy of their preparation. All courses with the exception of class instruction in instrument or voice (196-199) count for distribution in Arts and Literature. A maximum of 6 credits of applied music courses (150-183 and 250-283) may count for distribution credit for students matriculating prior to fall 2003.
A major is offered for students who wish to concentrate in music as an end in itself or in preparation for teaching, graduate study, or other work of a professional nature. Students who wish to become teachers of music in elementary and/or high school may follow a plan which, supplemented by a year of study elsewhere, would ordinarily lead to the appropriate degree Bachelor of Music Education or Masters of Music Education and teaching certification.
Credit in Applied Music and for Music Organizations:
Any student may study an instrument or voice at beginning through advanced levels, and may participate in the department's musical organizations by audition. For students not majoring in music: 1) a maximum of 36 credits in applied music may be counted toward the credits required for graduation; 2) a maximum of 12 non-graded credits for Music 185-199 may be counted toward graduation. For majors there is no credit limit.
Requirements for a Major:
Students intending to major in music should consult with the chair of the department early in their college career, since the theory and history courses follow one another in a preferred sequence. The preparation of the student is taken into account, both in applied and in theoretical music, and the requirements are subject to modification in individual cases, with the approval of the department.
A major in music consists of the following core courses: Music 110, two courses in music theory (Music 200 and 201), two courses in music history (Music 211 and 312), one course in Music composition (Music 220), 298 (Junior Colloquium), one course in ethnomusicology (such as Music 140, 141, 216, 243, 245, 247 or 248), Music 400 (Integrative Exercise), 4 credits in applied music (private study of an instrument or voice and Music 205, if applicable), and 2 credits in a performing organization or chamber music. The sequence begins with Music 110, which should be taken in either the first year or sophomore year. The core theory sequence (Music 200 and 201) should be taken either during the first year or sophomore year but can also be taken during the junior year. Music 102 is a prerequisite for those students who have not had prior training in theory and aural skills. The core history sequence (Music 211 and 312) may be begun immediately after Music 110 and should be completed by the end of the junior year.
In addition to the core requirements, the major requires an additional 18 credits, wherein a student may construct an emphasis in one or more areas of music: music history, theory, composition, ethnomusicology, applied music or conducting. Specific course suggestions may be obtained from the department chair. The more advanced student in applied music, whether major or non-major, may, at the discretion of the instructor, perform in mixed student recitals, chamber music, and partial or full solo recitals.
Every music major must be prepared to demonstrate basic keyboard skills. A Keyboard Proficiency examination will be offered every fall term to test students' ability at the keyboard. Students lacking experience at the keyboard may take Keyboard Harmony (Music 205) and/or private piano lessons to pass this requirement. Students who achieve a grade of C- or above in Music 205 automatically pass the Keyboard Proficiency requirement. Every music major must also, on at least one occasion, give a public performance of a piece worked on with one of the major's applied music instructors.
Music Courses
MUSC 100. Musical Biography and Autobiography Explores musical life through biography and autobiography, with examination of narratives about individuals in Native American, African, Latin American, Indian, and Western musical cultures. How do people interpret their own experiences of music in daily life, their roles as "musicians" or "non-musicians," and their musical cultures generally? We will consider the role of biography in musical ethnography, and each student will construct a musical biography or autobiography. 6 cr., S/CR/NC, AL, Fall—M. Russell
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 cr., AL, Spring—J. Ellinger
MUSC 102. Basic Musicianship An introduction to critical and analytical listening and music reading skills designed to enable students to develop aural skills and music reading abilities. Open to all students, but especially recommended for students thinking of majoring in music with limited aural skills experience. 3 cr., AL, Fall—L. Burnett
MUSC 108. Introduction to Music Technology A course designed to explain how computers and synthesizers communicate to make music. The course will study the low level details of the MIDI language and standard MIDI files. Class projects will include producing original arrangements of music written in the MIDI language and rendered on the synthesizer. 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. 3 cr., ND, Fall—J. Ellinger
MUSC 110. Introduction to the Study of Music This course is designed to develop an understanding of the elements and structural principles of music through listening, examination of the use of musical materials by representative composers, and brief exercises in analysis. The object of the course is to identify the technical reasons which make one kind of music sound different from another. Music 110 is recommended preparation for all music literature courses. Prerequisite: the ability to read music. 6 cr., AL, Fall,Spring—L. Archbold, N. Melville
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 cr., AL, Winter—L. Archbold
MUSC 113. Music and Gender Cross-listed with MUSC 213. The criticism of western art music has undergone a profound change near the end of the twentieth century as new modes of critical thought reveal new areas of meaning in the traditional repertoire. This course provides an introduction to these new ways to find meaning and value, by grounding well-known examples of western art music in the study of gender and sexuality, including feminist and gay/lesbian perspectives. No prerequisites. 6 cr., AL,RAD, Fall—L. Archbold
MUSC 115. Music and the Media A survey of the role of music and sound in the media of film, radio and television. Primary topics for discussion include the history and conventions of musical composition for radio, television narrative, MTV, television and radio commercials, narrative film and the Hollywood film musical. Additional topics for consideration include musical style, musical semiotics, and music as a postmodern commodity. No prerequisites. Music reading may be helpful, but not necessary to take the course. 6 cr., AL, Not offered in 2005-2006.
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 cr., S/CR/NC, AL, Not offered in 2005-2006.
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 cr., AL, Winter—L. Archbold
MUSC 121. Beethoven Symphonies A course designed to familiarize the student with the nine symphonies of Beethoven. Course work will include score study, listening assignments, and reading assignments. The six-credit option involves an advanced analysis seminar which meets once per week, as well as papers and a major analysis project. Although designed for the music major, the six-credit option is open to any student who satisfies the prerequisite. Prerequisite: the ability to read music. Additional prerequisites for the six-credit option: Music 110 and 200. 4 or 6 cr., AL, Winter—P. Rhodes
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 the consent of the instructor. 2 cr., AL, Not offered in 2005-2006.
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 cr., AL, Fall,Winter—S. Kelly
MUSC 131. From the Delta to Memphis 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 Elvis Presley and early rock and roll in the mid 1950s, including the classic blues singers of the 1920s, the development of the Chicago Blues and issues of authenticity and "ownership" of both the music and its cultural legacy. The course involves readings, listening assignments, and some transcriptions of early recorded blues. No prerequisite, although the ability to read music is helpful. 6 cr., AL, Not offered in 2005-2006.
MUSC 133. Bluegrass and Country-Western Music An historical survey from the turn of the century to the early 1960s. Examination of the common roots of Bluegrass and Country-Western music and the various factors which lead to the separation of the two idioms. Emphasis on important trends and influential performers. 6 cr., AL, Not offered in 2005-2006.
MUSC 136. History of Rock This survey course examines rock music in its many manifestations from the 1950s to the present. Equal emphasis is placed on rock's musical elements and its socio-cultural dimensions as a youth-oriented form of popular music. Students will learn about rock's history and the emergence and development of its various styles. 6 cr., AL, Not offered in 2005-2006.
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 cr., AL,RAD, Not offered in 2005-2006.
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 musics 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 cr., AL,RAD, Not offered in 2005-2006.
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 cr., AL,RAD, Not offered in 2005-2006.
MUSC 200. Music Theory I An introduction to the basic elements of musical syntax: diatonic harmony, phrase and cadence structure, and the description and analysis of musical structures in a single key. Also involves work in sight singing and aural skills. Students have assignments in the computer music lab of the Music and Drama Center and become conversant with musical notation programs and MIDI workstations. Three meetings per week plus aural skills lab. Prerequisite: Music 102, or permission of the music department. 6 cr., AL, Winter—R. Rodman
MUSC 201. Music Theory II Continuation of Music 200. Survey of tonal counterpoint and chromatic harmony, with an emphasis on chord function, tonicizations and modulatory techniques, along with the description and analysis of musical structures in more than one key. Students continue assignments in the computer music lab of the Music and Drama Center. Continued work in sight singing and aural skills. Three class meetings per week plus aural skills lab. Prerequisite: Music 200. 6 cr., AL, Spring—R. Rodman
MUSC 205. Keyboard Harmony Individual or small group study of a variety of basic keyboard skills: keyboard theory and technique-harmonizing simple melodies, learning major and minor scales; reading-sight reading simple scores and transposing them; solo repertoire-learning short piano solo works and four part scores; creative activity-improvising accompaniment for a simple melody. Prerequisites: Prior piano study and knowledge of basic music theory. For music majors, this course is equivalent to the piano proficiency examination requirement with C- grade or higher. 2 credits cr., AL, Not offered in 2005-2006.
MUSC 208. Introduction to Sequencing and Digital Recording An introduction to the theory and practice of the digital realization of a musical score. The course will cover advanced aspects of MIDI sequencing, digital recording techniques, sampling, compression, equalization, normalization, mastering and mixing. The musical effect of the composer/engineer's various post-production choices will be explored and discussed. The final class project will involve the musical realization of an original musical score or arrangement on an audio CD. This course is strongly recommended for students with a serious interest in composition. Prerequisite: Music 108, 117 or Music 200. 3 credits cr., ND, Fall—J. Ellinger
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 cr., AL, Winter—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 110 or consent of the instructor. 6 cr., AL, Spring—L. Archbold
MUSC 213. Music and Gender The criticism of western art music has undergone a profound change near the end of the twentieth century as new modes of critical thought reveal new areas of meaning in the traditional repertoire. This course provides an introduction to these new ways to find meaning and value, by grounding well-known examples of western art music in the study of gender and sexuality, including feminist and gay/lesbian perspectives. Opportunities to use previous music experience will be included in the curriculum. Prerequisite: Previous Carleton music course or permission of instructor. 6 cr., AL,RAD, Fall—L. Archbold
MUSC 216. Anthropology of Music This course examines the anthropological study of music, including consideration of the role of music in culture and society, the social organization of musical life, symbolism, creativity, relationship of music and cultural values, musical change, and the musical results of contact among cultures. Examples are drawn from a variety of cultures, including Indonesian, South Asian, Middle Eastern, Native American, and West African. Prerequisite: Either any introductory music course or any Sociology/Anthropology course. Not open to students who have taken Music 191 or Music 199. 6 credits cr., AL, Not offered in 2005-2006.
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 110 and 200, or Music 117 with consent of the instructor. 6 credits cr., AL, Winter—P. Rhodes
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 110 or equivalent and prior ensemble experience, or consent of the instructor. 6 cr., AL, Fall—P. Rhodes
MUSC 239. Philosophy of Music Various issues in the philosophy of music, including: What is music? Can music express emotions? Can music express ideas? If so, how? What, if anything, makes one piece of music or performance better than another? Are there absolute standards of musical value? Readings from authors such as Roger Scruton, Jerrold Levinson, and Peter Kivy will be applied to music from Mozart to Muddy Waters and from Beethoven to the Beatles. Prerequisite: the ability to read music. 6 cr., AL, Not offered in 2005-2006.
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 cr., AL, Spring—M. Russell
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. Prerequisite: Previous Carleton music course or permission of the instructor. 6 cr., AL, Fall—M. Russell
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 cr., AL, Winter—M. Russell
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 cr., AL, Not offered in 2005-2006.
MUSC 298. Junior Colloquium The junior colloquium is required for all music majors and must be taken in the junior year. 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: Junior major standing. 2 cr., S/CR/NC, ND, Spring—L. Archbold
MUSC 300. Theory III The course will present strategies and techniques for performing analyses of form and structure of musical works. Analysis and composition projects will deal with binary, ternary, rondo, theme and variations, and sonata form among others. Larger musical works from the eighteenth through early twentieth century repertoire will be surveyed and analyzed, with an increased emphasis on writing about musical structure. Also examined are historical descriptions and conceptions of musical form. Prerequisite: Music 201. 6 cr., AL, Not offered in 2005-2006.
MUSC 301. Theory IV An examination of advanced tonal theory and analysis. The course will include a survey of musical styles from the nineteenth and early twentieth century along with contemporaneous conceptions of tonality, including Rameau, Riemann and Schenker. Also emphasized are contemporary theories of tonality including neo-Riemanninan theory, double-tonic complex theory and others, and a discussion of tonal function in jazz and popular music. Prerequisite: Music 201. 6 cr., AL, Not offered in 2005-2006.
MUSC 302. Analysis of Twentieth Century Music A course designed to equip the student with analytical techniques in non-tonal music, ranging from Schoenberg to the avant-garde. Prerequisites: Music 201 and 312 or consent of the instructor. 6 cr., AL, Not offered in 2005-2006.
MUSC 312. Romantic and Modern Music An examination of western art music of the nineteenth and twentieth centuries, including Schubert, Berlioz, Brahms, Wagner, Schoenberg, and Stravinsky. Prerequisite: Music 200 and 211 or consent of the instructor. 6 cr., AL, Fall—S. Kelly
MUSC 320. Advanced Composition Seminar A continuation of the study of compositional principles presented in Music 220, with an emphasis on twentieth-century materials and techniques. The course is open to any student who has fulfilled the prerequisites, but is particularly directed toward the major who wishes to pursue the composition option in the Senior Integrative Exercise. Course work involves the use of computer notation software and synthesizers. Two class meetings per week and individual instruction. Prerequisites: Music 201 and 220. 6 cr., AL, Not offered in 2005-2006.
MUSC 400. Integrative Exercise Required of senior majors. The integrative exercise may be fulfilled by examination (taken early winter term), or 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 298 (Junior Colloquium) is a preparatory course for some aspects of the Integrative Exercise. 1-4 cr., Fall,Winter,Spring—Staff
Courses in Applied Music
Students may elect courses in applied music with individual lessons of one hour for four credits which requires a minimum of two hour's practice daily; or a half-hour lesson for two credits which requires a minimum of one hour's practice daily.
A master class of one hour a week in some branches of applied music consists of the performance of music and discussion of technical and aesthetic problems involved in interpretation. Recital performances are at the discretion of the instructor.
Registration and Fees:
Registration for applied music must be included in the student's official registration. The comprehensive fee does not include the cost of private instruction, and special fees are charged as described elsewhere. 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.
In the following listing, numbers 150-183 are for two credits, numbers 250-283 are for four credits. Permission of the instructor is required for registration for four credits. First-year students are limited to two-credit lessons. A maximum of six credits may count toward distribution requirements for students matriculating prior to Fall 2003.
MUSC 150 or 250. Piano Studies for technical development on the instrument. Students will work on appropriate compositions from the Baroque, Classic, Romantic, and Modern Periods, with special reference to the composer's individual style, peculiarities of notation and interpretative technique. Reading at sight. 2 or 4 cr., AL, Fall,Winter,Spring— K. Huber, N. Melville. M. Widman
MUSC 151 or 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 from operas and oratorios. Singing at sight. In addition, one studio class per week. Prerequisite for 151: audition or Music 196 (Class Voice); prerequisite for 251: consent of the instructor. 2 or 4 credits cr., AL, Fall,Winter,Spring—R. Penning, B. Allen, M. Martz
MUSC 152 or 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). 2 or 4 cr., AL, Fall,Winter,Spring—J. Ellinger, J. Flegel
MUSC 155 or 255. Violin 2 or 4 cr., AL, Fall,Winter,Spring—E. Ericksen, M. Horozaniecki
MUSC 155-169. and 255-269. Orchestral and Band Instruments Studies for technical development, including scales, arpeggios, etudes and exercises appropriate to the student's needs. For technical and musical development, sonatas, concertos and shorter pieces are chosen from all musical periods. Not offered in 2005-2006.
MUSC 156 or 256. Viola 2 or 4 credits cr., AL, Fall,Winter,Spring—E. Ericksen, M. Horozaniecki
MUSC 157 or 257. Cello 2 or 4 credits cr., AL, Fall,Winter,Spring—T. Rosenberg
MUSC 158 or 258. Double Bass 2 or 4 credits cr., AL, Fall,Winter,Spring—C. Martin
MUSC 159 or 259. Flute 2 or 4 credits cr., AL, Fall,Winter,Spring—M. Jamsa
MUSC 160 or 260. Oboe/English Horn 2 or 4 cr., AL, Fall,Winter,Spring—M. Klemp
MUSC 161 or 261. Clarinet 2 or 4 credits cr., AL, Fall,Winter,Spring—N. Olsen
MUSC 162 or 262. Saxophone 2 or 4 credits cr., AL, Fall,Winter,Spring—D. Saunders
MUSC 163 or 263. Bassoon 2 or 4 credits cr., AL, Fall,Winter,Spring—J. Bryce
MUSC 164 or 264. French Horn 2 or 4 credits cr., AL, Fall,Winter,Spring—G. Anderson
MUSC 165 or 265. Trumpet 2 or 4 credits cr., AL, Fall,Winter,Spring—L. Deichert
MUSC 166 or 266. Trombone/Euphonium 2 or 4 credits cr., AL, Fall,Winter,Spring—R. Rodman
MUSC 167 or 267. Tuba 2 or 4 credits cr., AL, Fall,Winter,Spring—R. Rodman
MUSC 168 or 268. Orchestral Percussion Instruction on orchestral percussion instruments such as snare drum, mallets, and tympani. Equipment available for registered students. 2 or 4 credits cr., AL, Fall,Winter,Spring—J. Johnson
MUSC 169 or 269. Harp Studies to develop technique and a varied selection of works from the Renaissance and Baroque periods. With some instrument works from the Romantic and Modern periods are also studied. 2 or 4 credits cr., AL, Fall,Winter,Spring—E. Niemisto
MUSC 170 or 270. Harpsichord 2 or 4 credits cr., AL, Fall,Winter,Spring—J. Hall
MUSC 170-174. and 270-274. Instruments of Early Music Studies to develop technique and a varied selection of works from the renaissance and Baroque periods. With some instruments, works from the Romantic and Modern period are also studies. Not offered in 2005-2006.
MUSC 171 or 271. Organ Basic piano skills required. 2 or 4 cr., AL, Fall,Winter,Spring—L. Archbold, J. Hall
MUSC 172 or 272. Lute 2 or 4 credits cr., AL, Fall,Winter,Spring—J. Ellinger
MUSC 173 or 273. Viola da Gamba 2 or 4 credits cr., AL, Fall,Winter,Spring—J. Elhard
MUSC 174 or 274. Recorder 2 or 4 credits cr., AL, Fall,Winter,Spring—M. Krusemeyer
MUSC 175 or 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. Three years piano required. Materials: staff paper and portable tape player. 2 or 4 credits cr., AL, Fall,Winter,Spring—L. Caviani
MUSC 176 or 276. Jazz Bass Instruction in Jazz Bass techique and theory. 2 or 4 credits cr., AL, Fall,Winter,Spring—K. Clements
MUSC 177 or 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. 2 or 4 cr., AL, Fall,Winter,Spring—D. Singley
MUSC 178 or 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. 2 or 4 credits cr., AL, Fall,Winter,Spring—J. Johnson
MUSC 179 or 279. Jazz Improvisation The study of the basic grammar and syntax of jazz improvisation styles, including transcribing solos, chord/scale materials and melodic patterns. 2 or 4 credits cr., AL, Fall,Winter,Spring—Staff
MUSC 180 or 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. 2 or 4 credits cr., AL, Winter,Spring—D. Whetstone
MUSC 181 or 281. Sitar 2 or 4 credits cr., AL, Fall,Winter,Spring—D. Whetstone
MUSC 182 or 282. Chinese Musical Instruments Beginning through advanced study on traditional Chinese instruments, pipa, erhu and dizi (bamboo flute). 2 or 4 credits cr., AL, Fall,Winter,Spring—G. Hong
MUSC 183 or 283. Ethnic Drumming Instruction Ethnic drumming instruction in various ethnic drumming styles including West African (Ghanian instruments), Cuban (congas), North Indian (tabla) and Middle Eastern (dumbek). Equipment available for registered students. 2 or 4 credits cr., AL, Fall,Winter,Spring—J. Johnson
Musical Organizations, Ensembles, and Class Instruction
MUSC 185. Carleton Choir: Bella Cantemus/Man's Chorus The Carleton Choir provides a substantive choral experience for students with limited vocal music training and choral experience. The Choir presents a formal concert on campus each term and, on occasion, provides music for chapel services, convocations, and other special events. The group performs short, extended and large-scale works for mixed choir as well as literature for men's and women's choirs of all periods. Membership is open to all students by audition. Auditions are held in May for returning students and in September for returning and first-year students. Students may audition at the beginning of winter and spring terms on a space available basis. 1 cr., S/CR/NC, AL, Fall,Winter,Spring—L. Burnett
MUSC 186. Carleton Singers The Carleton Singers is a highly select group of vocalists dedicated to performing choral music of all periods and styles. The Singers collaborate with the Carleton Choir on large-scale works and frequently performs on and off-campus for a variety of special events. Membership is offered to students who demonstrate exceptional technical and musical skills. The need to balance all parts (Soprano, Alto, Tenor and Bass) dictates the size of the ensemble. With few exceptions, membership is for the full year. Auditions are held in September for returning and first-year students and in May for returning students. 1 cr., S/CR/NC, AL, Fall,Winter,Spring—L. Burnett
MUSC 187. Carleton Orchestra The 60-piece Carleton Orchestra performs large symphonic masterpieces, such as Debussy's Nocturnes and Saint-Saëns' Symphony No. 3. 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 cr., S/CR/NC, AL, Fall,Winter,Spring—Staff
MUSC 189. Carleton Symphony Band The Carleton Symphony Band performs music selected from the standard repertory, including compositions by Holst, Grainger, Nelybel, and Sousa. Regular sight-reading sessions. Admission by audition. 1 credit cr., S/CR/NC, AL, Fall,Winter,Spring—R. Rodman
MUSC 190. Carleton Jazz Ensemble The study and performance of the styles of important figures in jazz band repertory such as Basie, Kenton, Ellington, Herman, Rich, and Evans as well as current trends in contemporary jazz band compositions. Repertory will be selected from published works and student original compositions and arrangements. Admission by audition. 1 credit cr., S/CR/NC, AL, Fall,Winter,Spring—D. Singley
MUSC 191. African Karimba Ensemble This ensemble focuses on the 15-key Shona (Zimbabwe) karimba (sometimes called a "thumb piano"). Students learn the fundamentals of solo and group playing on the karimba and study selections from the instrument's traditional repertoire. No musical training or experience is necessary. 1 cr., S/CR/NC, AL, Fall,Winter—M. Russell
MUSC 192. 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: Music 199 and/or permission of the instructor. 1 cr., S/CR/NC, AL, Fall,Winter,Spring—J. Johnson
MUSC 193. African Mbira Ensemble An ensemble of 22-key Shona (Zimbabwe) mbira dza vadzimu. Playing techniques, improvisational practices, and traditional repertoire will be taught. Prerequisite: Music 191. 1 cr., S/CR/NC, AL, Spring—M. Russell
MUSC 194. Chamber Music The study and performance of instrumental and vocal chamber music repertory or small jazz ensemble repertory for keyboard, voice and instrumentalists, coached weekly by music faculty. 1 credit cr., S/CR/NC, AL, Fall,Winter,Spring—Staff
MUSC 196. Class Voice An introduction to the study of voice, preparatory to private lessons. Special fee: $55. Not to be taken concurrently with Music 151 or 251 (Voice). 1 credit cr., S/CR/NC, ND, Fall,Spring—B. Allen, M. Martz
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. Special fee: $55. Not to be taken concurrently with Music 152 or 252 (Guitar). 1 credit cr., S/CR/NC, ND, Fall,Winter,Spring—J. Ellinger, J. Flegel
MUSC 199. African Drum Class Class instruction in basic techniques of African drumming. No musical training or experience is necessary. Special fee: $550. 1 credit cr., S/CR/NC, ND, Fall,Winter,Spring—J. Johnson