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Course Criteria
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4.00 Credits
Africana Studies Focusing on the musical cultures of Africa, this course examines music and music making in the context of African philosophy, religion, and specific cultural practices. The musical practices of the Caribbean and other areas of the New World where Africans reside in significant numbers are also investigated. Reading, writing, analysis, critical listening, and participatory activities are required.
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4.00 Credits
This course is about perception and hearing. It begins with a description of the physiology and function of the ear and how auditory information is processed. Technical material is enlivened through the use of graphic illustrations, recorded examples, interactive demonstrations, experiments, a guest lecturer, and a visit to a studio lab. The second half of the semester focuses on sound localization and the technologies used in spatialization and 3-D audio. Auditory localization cues, binaural recording, spatial audio synthesis, sound for virtual realities, and immersive environments are explored. Enrollment limited.
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4.00 Credits
An introduction to computer programming for algorithmic composition, sound installations, interactive performance, and live sound processing, using the musician-friendly MAX/MSP programming language. This is a hands-on course with several small assignments culminating in a final project of programming and composing and a presentation or performance. Prior experience with sequencers or MIDI software is helpful.
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4.00 Credits
Africana Studies A continuation of Music 344, focusing on the culture, history, and music of the African diaspora in the New World. Included are musical cultures of the Caribbean and Latin America with special emphasis on the United States before 1920. Interrelationships among New World cultures are explored. Reading, writing, analysis, oral presentations, critical listening, and participatory activities are required.
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4.00 Credits
Integrated Arts An interdisciplinary course for performers, composers, dancers, sculptors, painters, multimedia artists, and others who want to take more risks in their work. Students examine the work and methods of visual and audio artists who create public art projects and installations as well as those who work within existing communities or with communities created specifically for a piece. Student work is presented on the street, in the community, and as proposals in class.
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4.00 Credits
Drama criticism has been called "the art of tattooing soap bubbles," and music criticism often seems an even more quixotic endeavor. How do you pin down, in words on a page, the passage of sound waves in fleeting time? This course explores many strategies for writing about music: critical, analytical, descriptive, historical, philosophical, objective, and subjective. Students must fulfill weekly writing assignments in response to recordings and live concerts (pop, classical, jazz, world music, avant-garde). They also read samples of music writing, from early critics such as E. T. A. Hoffman and Robert Schumann to current cultural magazines. For both music majors and nonmusicians.
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4.00 Credits
Taking VR (Virtual Reality 3D sonic imaging and graphics, telepresence, and cyberspace) as a point of departure, this workshop examines the possibilities of individualizing sonic architectures for listeners and spaces. Scenarios are proposed for future sonic worlds, and cross-sensory explorations are investigated. Readings include selected excerpts spanning musical theory, acoustics, neuroscience, and the literature of the imagination. Internet sources are used extensively to access new developments in interface and enhancement technologies. Students are expected to bring in ongoing projects-e.g., computer programs, digital or analog recordings, or scores for installations and other works.
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4.00 Credits
Students learn how to score for instrumental combinations, from small ensembles up to full orchestra. Live demonstrations of orchestral instruments; score study of orchestral literature; chord voicing and notation of bowings, breathing, articulations, and special orchestral effects; and the practice of basic conducting patterns and skills are covered. Prerequisites: Music 133-134 and Composition Workshop.
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4.00 Credits
Franz Schubert revered Beethoven above all other composers. Although born of different generations, they died 20 months apart and were ultimately buried just feet apart. This seminar examines the musical and cultural context in which both composers lived and worked in Vienna, concentrating on the period from the Congress of Vienna (1814) to their deaths. The class studies their personal, professional, and musical relationships; analyzes relevant compositions; and explores their contemporaneous and posthumous receptions. A major emphasis is placed on biographical representations of the two composers: a masculine, symphonic, and heroic Beethoven constructed against a feminine, lyrical, and shy Schubert. This upper-level seminar is intended for music majors but is open to others with permission of the instructor.
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4.00 Credits
This course analyzes key musical works that use death and mourning as subject matter, including the requiems of Wolfgang Amadeus Mozart, Giuseppe Verdi, Johannes Brahms, Benjamin Britten, and Paul Hindemith, as well as Johann Sebastian Bach's Johannes-Passion and Ich habe genug ( Cantata 82). Prerequisites: One semester of Literature and Language of Music or an equivalent music history course. This course fulfills a music history requirement for music majors.
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