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Course Criteria
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0.50 Credits
Amyloidogenesis, the process by which proteins and peptides misfold to form amyloid fibers, is at the root of several different diseases, including Parkinson's disease, Alzheimer's disease, mad cow disease and type II diabetes to name a few. This course will focus on current research in the field that seeks to understand why a functional well-folded protein adopts the misfolded amyloid form. In the course of discussing the misfolded nature of these proteins, we will review central elements of protein structure and stability to better understand the protein-folding landscape and the process of misfolding. We will also discuss how the process of misfolding leads to the different diseases and disease pathologies.
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0.25 Credits
Weekly formal presentations by graduate students about their research projects. This includes description of experimental outline, technical details, problems that are encountered, and possible solutions. The active discussion among the participants is designed to generate communication skills, new ideas, and interpretations and to introduce novel techniques that would aid the graduate student.
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0.25 Credits
This course includes the presentation and discussion of recent findings in the field of molecular and cellular biology.
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1.00 Credits
This introductory course in theory and practice prepares students for further work in music history, theory, composition, ethnomusicology, and performance. The goals of the course are to develop a thorough working knowledge of basic musical structures, including scales and modes, keys, intervals, motives, chords, rhythmic patterns, and types of musical motion; to experiment with musical materials and design through exercises in improvisation and composition; to learn to transcribe tunes and harmonize them; to gain basic keyboard and sight-singing skills, or to improve on these skills; and to recognize and interpret musical structures in a variety of repertoires including classical, folk, rock, jazz, and world music traditions.
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1.00 Credits
This course is a survey of recent electronic and instrumental works, with emphasis on the works of American composers. Starting with early experimentalists John Cage and Henry Cowell, germinal works of Earl Brown, Christian Wolff, and Morton Feldman will be studied; followed by more recent electronic and minimal works of La Monte Young, Terry Riley, David Behrman, Gordon Mumma, Robert Ashley, Steve Reich, Philip Glass, and Meredith Monk; finishing with younger crossover composers, including Laurie Anderson, Glenn Branca, John Zorn, and others. The course includes lectures, demonstrations, and performances, occasionally by guest lecturers.
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1.00 Credits
This course will introduce students to one of the world's great musical traditions, one that has been part of Wesleyan's renowned World Music program for more than 40 years. Students will learn beginning performance techniques in melody (raga) and rhythm (tala), the cornerstones of South Indian music. Through a listening component, they will also learn to identify important ragas (melodic modes). Lectures will cover a wide range of topics, including karnatak (classical) music, temple and folk traditions, music in South Indian film, and pop music. Readings and lectures will also provide the historical and cultural context for this rich and diverse musical world and will prepare students for the fullest possible enjoyment of the annual Navaratri Festival in October.
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1.00 Credits
This is a first course in experimental music composition with a focus on computer music techniques. It is linked to COMP112, Introduction to Programming. Students are required to take both courses. Students taking MUSC220 will enroll in COMP112 on the first day of classes. MUSC220 introduces fundamental computer music concepts and how composers have used these concepts to augment traditional musical structures and compositional techniques. COMP112 will introduce the general approach of object-oriented programming and the more specialized abstractions needed to model graphics, sound, and music. Both courses will use SuperCollider 3, an open-source computer music software environment, as their fundamental tool. The larger goal of this initiative is to introduce those aspects of computational thinking that involve passages between aural, visual, temporal, and mathematical structure. The courses will draw on freely from this literature for motivating examples, rudimentary assignments in programming and sound design, and the creative term projects that are our ultimate goal.
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1.00 Credits
This course is a survey of European music from the Romantic period, circa 1800-1900. Works from this period extend the boundaries of musical expression. Instrumental forms enact monumental dramas in works by Beethoven. Lyricism, longing, alienation, and madness find voice in songs by Schubert and Schumann. Lyricism joins with dance in piano pieces by Schumann and Chopin. The singing voice itself is fetishized in operas by Rossini. Music is linked with nationalist mythology in Wagner's music dramas and with nationalist politics in Verdi's operas. Music by Brahms is nostalgic, melancholic, and transcendent. Music tells stories in the programmatic tone poems of Liszt and Strauss. The foundations of tonality disintegrate at the end of the century as music reaches for ever-more-intense forms of expression. This course will explore both the what and the how of musical expression in the 19th century. In the United States, these trends are reflected, amplified, and occasionally denied. We will get to know representative works by the major composers of the century and works from each of the most significant genres. We will explore the notion of musical narrative and how musical meaning combines with that of words. We will develop our own interpretations and find out how other listeners, from the 19th century and beyond, have interpreted and understood this vibrant repertoire.
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1.00 Credits
The goal of this course is to introduce students of music to three restructural masters whose creativity and decisions have shaped creative music evolution since the Second World War. Instruction for this course will seek to provide a historical, scientific, and synthesis perspective that gives insight into the work of each musician.
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1.00 Credits
This course is a historical introduction to psalmody in the 17th century, lining out, Anglo-American 18th-century sacred music, the cultivated tradition in the early 19th century, and the various styles that contribute to the SACRED HARP and other shaped-note hymnals. Composers studied will include Thomas Ravenscroft, William Billings, Lowell Mason, and B. F. White. Collections examined will include the Bay Psalm Book, Tansur's ROYAL MELODY COMPLEAT, Lyon's URANIA, and Walker's SOUTHERN HARMONY.
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