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Course Criteria
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4.00 Credits
Asian Studies What does it mean for a music to be popular, and how does it become that way? In different parts of the world, the production, consumption, and distribution of popular music are all shaped by a society's distinct encounter with and culturally specific ways of negotiating modernity. These have to do with mediations of identity, space, and place that result in local scenes, global trends, musical hybridity, and cross-pollination. This course looks at various popular music genres in different geographical regions, particularly Asia, Africa, Latin America, and the Middle East, and explores issues related to the emergence of each one as well as their localized meanings. Discussions are based on a combination of selected readings, films/videos, and music recordings. Note that this course does not fulfill a music history elective for music majors.
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4.00 Credits
The Colorado Quartet explores the relationship between these two giants of the early 19th century through their rich contributions to the quartet repertoire. Many works are performed in their entirety during class meetings, recreating the intimate, rarefied atmosphere of the initial premieres. Required readings include Maynard Soloman's biography of Beethoven, Christopher Gibbs's biography of Schubert, and Goethe' s TheSorrows of Young Werther. This course does not fulfill a music history elective for music majors. Music 209
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2.00 Credits
This two-semester course begins by building skills in reading music and recognizing basic chords such as triads and sevenths. It continues with an introduction to harmony, secondary dominants, basics of modulation, four-part writing and voice-leading. The end result is the ability to write a hymn, song, or brief movement of tonal music. Theoretical work is complemented by an ear-training segment focused on developing the ability to sing and recognize secondary dominants and modulations.
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4.00 Credits
A creative jazz improviser strives for spontaneity of expression and emotional immediacy. There are many techniques used to train for these goals. In this course, the student is introduced to a number of different practice techniques while exploring a wide range of improvisational materials, including chords, intervals, and recorded jazz solos from composers such as Louis Armstrong and John Coltrane. Open to both singers and instrumentalists, the course fulfills a theory requirement for music major
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4.00 Credits
This course surveys various folk and traditional musics of the non-Western world. Music cultures are discussed individually in turn, all the while maintaining a cross-cultural or cross-regional perspective in order to discern common underlying themes and processes as well as points of divergence. Discussion also includes issues such as cultural ownership, appropriation, and commodification- issues that have arisen as the countries and places where the musics originate get more deeply implicated in the global economy. Some class time is devoted to exercises in critical listening and aural analysis.
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4.00 Credits
By presenting selected masterpieces in the Western tradition, this course demonstrates some of the ways in which music communicates with the listener. In the process, a number of basic concepts underlying musical form and structure are clarified. Students are encouraged to bring their own favorite works to class for general discussion.
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4.00 Credits
This course explores the string quartets of Dmitrii Shostakovich and Béla Bartók from theperformer's perspective. Students focus on the unique ways these composers reconciled their nationalistic and ethnocentric roots with an emerging modernist aesthetic. Readings help place the works in social and political context.
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4.00 Credits
A survey of Romantic nationalism, as exemplified in the works of Borodin, Debussy, Dvo?rák,Ravel, Smetana, and Tchaikovsky. Students read letters written by these composers as well as short works by contemporary writers, including Tolstoy's "Kreutzer Sonata.
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4.00 Credits
This two-semester introduction to jazz harmony helps students identify and understand chords and chord progressions commonly used in jazz.
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4.00 Credits
As far back as the early Renaissance, distinctions were made as to what constituted popular and serious music. In the 15th century some of those distinctions were defined by music's relationship to the church. Later, in the 18th and 19th centuries, idiomatic folk music began to be deliberately used in opera and symphonic repertoire to evoke elements of nationalism and "local color." In the 20th and 21st centuries, ascharacteristics of jazz, folk, and rock music intermingled, some earlier distinctions between popular and serious music began to blur. In this course, key works in Western classical music from the 16th through the 21st centuries are studied along with the popular music of the day. Careful attention is paid to critical reaction to these works, along with an examination of the cultural climate and trends that might have contributed to high/low distinctions.
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