Students intending to major in music should consult with faculty in
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), Junior Colloquium (Music 298), one course in ethnomusicology
(such as Music 140, 141, 216, 243, 245, 247 or 248), Integrative
Exercise (Music 400), 4 credits in applied music including Keyboard
Harmony (Music 205), 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 faculty. 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. With department
approval, a student can register for Music 299 to receive solo recital
credit.
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
applied piano (Music 150 or 250) 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.
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 hours of
practice daily; or a half-hour lesson for two credits which requires a
minimum of one hour of 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.
First-year students are limited to two-credit lessons. In the
following listing, Music 150-184 are for two credits, Music 250-284 are
for four credits. Permission of the instructor is required for
registration for four credits.
MUSC 100. Introduction to Appreciating Western Art Music
An introduction to the appreciation of western art music, with emphasis on its meaning and value. Basic critical strategies to discern meaning and value (such as formal and historical approaches) will be studied, followed by more advanced strategies (ways to understand compositions metaphorically) and two radical ones (gender and cultural critique). There will be several short papers, and a term paper in which the various approaches to music surveyed in class will be synthesized. The ability to read music is not required.
6 cr., S/CR/NC, AL, Fall—L. Archbold
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 who are thinking of majoring in music with limited aural skills experience.
3 cr., AL, Fall—R. Rodman
MUSC 108. Introduction to Music Technology
A course designed to use the computer as a musical instrument. Studying the low level details of the MIDI language, standard MIDI files, MIDI sequencing and digital audio techniques, projects will focus on getting the computer to play music expressively, with all the nuances of a human performance: rhythm, dynamics, articulation, and tempo; producing original arrangements of music written in Excel spreadsheets using the raw MIDI language and then rendered on the computer as standard MIDI files; and will involve the musical realization of an original musical score or arrangement from notation to MIDI to digital audio to effects processing and mastering on an audio CD. The class will make use of the music computer lab for projects. Open to all students with an interest in music or computers. Prerequisite: Ability to read music.
6 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—N. Melville, H. Valdivia
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
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, Not offered in 2006-2007.
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 2006-2007.
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, Fall—M. Childs
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, Not offered in 2006-2007.
MUSC 122. Symphonies from Mozart to Mahler
A survey of orchestral symphonies and related genres from the late eighteenth through the late nineteenth centuries with emphasis on the works of Mozart, Beethoven, Berlioz, Schubert, Schmumann, Brahms, Mahler, and others. Symphonies will be studied through listening and readings; connections to other aspects of nineteenth-century European culture will be explored. Ability to read music not required.
6 cr., AL, Spring—L. Archbold
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 2006-2007.
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, Spring—J. London
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 2006-2007.
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 2006-2007.
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 2006-2007.
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, Fall—M. Russell
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 2006-2007.
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 interpretive technique. Reading at sight.
2 or 4 cr., AL, Fall,Winter,Spring—K. Huber, M. McCright, 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 cr., AL, Fall,Winter,Spring—B. Allen, L. Burnett, P. Kent, M. Marta, R. Penning
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
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 2006-2007.
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 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. Works from the Romantic and Modern periods are also studied.
2 or 4 cr., AL, Fall,Winter,Spring—E. Niemisto
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 studied.
Not offered in 2006-2007.
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 cr., AL, Fall,Winter,Spring—L. Caviani
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 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 cr., AL, Fall,Winter,Spring—L. Caviani, D. Saunders, D. Singley
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 cr., AL, 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 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 cr., AL, Fall,Winter,Spring—J. Johnson
MUSC 184 or 284. American Folk Instruments
Beginning to advanced study of technique and improvisational styles on American folk instruments. Students may study 5-string banjo, bluegrass guitar, dobro, or bass. Students must provide their own instruments.
2 or 4 cr., AL, Fall,Winter,Spring—B. Fesler
MUSC 185. Carleton Choir: Bella Cantemus/Men's Chorus
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, women and men's voices. Concerts are sometimes repeated off campus. Students must have good vocal skills, basic sight reading ability, and a high degree of interest in performing quality choral music. Placement is by audition.
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—H. Valdivia
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 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 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 chamber repertory or small jazz ensemble repertory for keyboard and instrumentalists, coachedweekly by music faculty.
1 cr., S/CR/NC, AL, Fall,Winter,Spring—H. Valdivia, Staff
MUSC 195. Pro Musica Singers
The Pro Musica Singers is a small vocal ensemble that performs Medieval and Renaissance as well as contemporary classical compositions. The ensemble performs on and off campus throughout the academic year, culminating in a full spring-term concert. Students must have strong vocal skills and sight reading ability, and a high degree of interest in early and contemporary classical music. Placement is by audition. Concurrent enrollment in the Carleton Choir is highly recommended, though not required.
1 cr., S/CR/NC, AL, Fall,Winter,Spring—L. Burnett, Staff
MUSC 195. Jubilee Singers
The Carleton Jubilee Singers expands on the famed Fisk Jubilee Singers model, and performs traditional African and Black American spirituals and gospel music a cappella. The ensemble performs on and off campus throughout the academic year, culminating in a full spring term concert. Students must have strong vocal skills, a good ear, basic sight reading ability, and a high degree of interest in Black sacred music traditions. Placement is by audition. Concurrent enrollment in the Carleton Choir is highly recommended, though not required.
1 cr., S/CR/NC, AL, Fall,Winter—L. Burnett
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 cr., S/CR/NC, ND, Fall—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 cr., S/CR/NC, ND, Fall,Winter,Spring—J. Ellinger
MUSC 199. African Drum Class
Class instruction in basic techniques of African drumming. No musical training or experience is necessary. Special fee: $55.
1 cr., S/CR/NC, ND, Fall,Winter,Spring—J. Johnson
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—J. London
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—J. London
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 cr., AL, Not offered in 2006-2007.
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, Not offered in 2006-2007.
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, Not offered in 2006-2007.
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 cr., AL, Winter—M. Childs
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, Not offered in 2006-2007.
MUSC 227. Introduction to Perception and Cognition of Music
Students will be introduced to the basic issues in the perception and cognition of rhythm and rhythm. In addition to readings (from William James and Hermann Helmholtz to recent research in auditory perception, motor behavior, and neurobiology), we will also recreate a number of classic experiments. The basic aspects of experimental design and elementary statistical analysis will also be covered. Students will prepare summaries of class readings (and lead class discussions); analyze and discuss data collected from in-class experimental demonstrations, and write a modest term-paper on a topic of their choosing (after consulting with the instructor). Pre-requisite: A previous course in music or psychology, or permission of the instructor.
6 cr., SS, Winter—J. London
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, Fall—J. London
MUSC 243. Music of the Caribbean
This course will introduce the musical traditions and socio-cultural contexts of a number of Caribbean nations, usually including Cuba, the Dominican Republic, Haiti, Jamaica, Puerto Rico, Trinidad, and the French Antilles. Both popular and African-derived sacred genres will be examined. While each island has unique and varied traditions, a number of themes relevant to Caribbean ethnomusicology will underlie each unit and tie them together. These include issues of acculturation, race, class, politics, nationalism, and globalization, and how these issues shape and are shaped by musical practices. Prerequisite: Familiarity with basic music terminology or permission of the instructor.
6 cr., AL, Not offered in 2006-2007.
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, Not offered in 2006-2007.
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, Spring—M. Russell
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 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. Prerequisite: completed recital form and permission of the Music Department the term prior to the recital. Fees and financial aid for 299 are the same as for four-credit applied lessons.
4 cr., AL, Fall,Winter,Spring—Staff
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, Fall—J. London
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, Winter—J. London
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, Not offered in 2006-2007.
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 2006-2007.
MUSC 330. Jazz History Seminar
A research seminar in jazz history, this course will introduce students to the basic bibliographic tools, historical artifacts, and critical tradition of the field. Students will present short oral and written reports on selected examples of this material in preparation for a major research paper on a topic chosen in consultation with the instructor. Prerequisites: Music 110, 130 or permission of the instructor.
6 cr., AL, Winter—S. Kelly
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/performance, or research-paper project. Students who wish to fulfill Music 400 with such projects must meet department-specified qualifying criteria. Junior Colloquium (Music 298) is a preparatory course for some aspects of the Integrative Exercise.
1-4 cr., Fall,Winter,Spring—L. Archbold, L. Burnett
175-179 and 275-279 Instruments of Jazz and Popular Music
180-184 and 280-284 Instruments in World and Folk Music