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Course Criteria
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3.00 Credits
Beginning courses in musical composition taught in tutorial format. Size and number of required assignments will vary from 3 to 6 in addition to a possible full semester composition project. One to two group meetings per week will deal with the presentation of new assignments, analysis of models for composition, performance of work in class, and critiquing of work. Individual meetings may be added to deal with individual needs. Students must also be available for performances and reading of work outside normal class time and the instructor and students will work together to insure that all work written during the semester is actually performed.
Prerequisite:
Music 202 (may be taken concurrently) and permission of instructor
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3.00 Credits
Designed for students with some music background who wish to learn basic principles of Musical Technology and practical use of current software and hardware. Topics include acoustics, MIDI sequencing, digital recording and editing, sampling, analog and digital synthesis, digital signal processing, and instrument design. Lectures will provide technical explanations on those topics covered in class and an historical overview of electronic music.
Prerequisite:
Music 102 or 103, or permission of instructor; knowledge of and proficiency with musical notation is required; some background in acoustics/physics is desirable
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3.00 Credits
Students will learn dance and music traditions from the African continent. To more fully understand the art form, students will also study the culture and history of the African regions in which selected dance and music evolved. This course can be taken for academic and /or PE credit
Prerequisite:
Dance 100 or permission of instructor
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3.00 Credits
Students will learn dance and music traditions from the African continent. To more fully understand the art form, students will also study the culture and history of the African regions in which selected dance and music evolved. This course can be taken for academic and /or PE credit.
Prerequisite:
Dance 100 or permission of instructor
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3.00 Credits
Although the term "music theater" came to prominence in the twentieth-century, expressive forms that synthesize the verbal, plastic, kinesthetic and illusionary arts have existed since antiquity. This is true across cultures worldwide. From Africa to the Americas, Europe, Asia and the Middle East, music, narrative, masquerading, puppetry, costuming, dance and, more recently, electronic media have been integrated in unique ways, giving humankind a crucial apparatus for ritual enactment, religious expression, moral instruction, entertainment and activism. This course surveys a select range of musical-theatrical traditions, including ancient Greek drama, Indian Sanskrit plays, Beijing opera, Japanese Noh theater, Yoruba alarinjo theater, Bollywood and Broadway musicals. We will investigate the role of music theater in society, giving attention to the historical, economic and political contexts that have fostered distinctive genre manifestations. As an EDI course, the overarching aims of the class will be to explore the relationship between ideology and aesthetics, and the role of performance in constructing representations of self and other.
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3.00 Credits
Whether discussing the independence campaigns of African states during the 1950s/60s, the Civil Rights Movement unfolding concurrently in the United States, or 20th century class struggles in the Caribbean and South America, mass-mediated musics have given voice to popular resistance to social, economic, political, racial and cultural disenfranchisement. This course explores popular music as an oppositional tool in Africa and the African Diaspora. A selection of "protest" genres and styles including Afrobeat, Chimurenga, Be-bop, Reggae and Hip-hop will provide case studies for approaching music as politically charged text, allied to specific moments of social change. Relationships between music and Negritude, Pan Africanism, Afrocentrism and other Nationalist ideologies that unify black struggles on all sides of the Atlantic will be examined. However, students will also situate specific case studies within local cultural histories framed by geographical boundaries of nation-state in order to critically explore intersections between genre identity and political discourse. Lectures will make generous use of audio/visual materials.
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3.00 Credits
This course explores 1000 years of music-making in Western European culture, beginning with the philosophical and theoretical origins of that music in ancient Greece and extending to the life and music of J.S. Bach. Topics covered will include how the sound of music changed over a millennium; the different functions it served and how genres developed to serve these functions; the lives of the men and women who composed, performed, and wrote about music; and how the changing notation and theory of music related to its practice over the centuries. At the same time, the course provides an introduction to the modern study of music history, sampling a broad range of recent scholarship reflecting an array of critical approaches to the study of early music in our own day.
Prerequisite:
Ability to read music; open to qualified non-majors with the permission of instructor
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3.00 Credits
A survey exploring the development of music in Western society from the Classical through the Romantic periods. Emphasis will be on the contextual study of works by such composers as Haydn, Mozart, Beethoven, Schumann, Berlioz, Verdi, Wagner, and Strauss. Changing musical styles will be examined in conjunction with the aesthetics of the period, with special attention to the use and purpose of music and the role of the musician in society.
Prerequisite:
Ability to read music
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3.00 Credits
A survey of musics in both Western and non-Western society from the close of the nineteenth century to the present. Emphasis will be on the contextual study of the music of major composers of Western art music, on the musical expressions of selected areas of world music such as Africa, Asia, India, and the Americas, and on the intermingling of musical influences of pop, jazz, and art music of the electronic age.
Prerequisite:
Ability to read music
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3.00 Credits
Very few female voices from the Middle Ages are audible today; most of the music, poetry, and other writings that survives reveals the creativity and expresses the attitudes of men. This course will explore the experiences and viewpoints of medieval women through the lens of the poetry and songs of two exceptional 12th-century figures: the German abbess Hildegard of Bingen, whose long and immensely productive life was shaped by the requirements of monastic culture; and the French Countess of Dia in Provence, whose elusive life and works exemplify the dynamics of aristocratic court culture. We will ask how these and other musical women active in both the sacred and the secular spheres (such as the nun Birgitta of Sweden, and Queen Blanche of Castile) negotiated their places and made their voices heard within the patriarchal society of their time. We will examine the ways in which these contrasting environments informed the different outlooks, ideas, and aesthetics expressed in the words and music of their songs. Along the way we will critically assess how these lost voices have been recreated to speak to us today through recordings and film.
Prerequisite:
Ability to read music useful but not required
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