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Course Criteria
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4.00 Credits
This class focuses on the various techniques used in jazz ensemble writing, from quintet to big band ensembles. Classic "drop-two" voicings andtertiary approaches are covered, as are more contemporary cluster, quartal, and line part writings. Myriad approaches to textural issues that arise in each particular instrumentation are examined, along with various approaches to section writing. Final projects, ranging from sextet to big band, are either recorded or performed live at the end of the semester. This is an advanced seminar open to moderated Upper College music majors who have successfully completed Jazz Composition I and II, or by permission of the instructor. This course fulfills an upper-level music theory requirement for music majors.
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4.00 Credits
Anthropology, Asian Studies, SRE Through a combination of lectures, discussions based on key readings, and audiovisual materials students consider the topic of music and tourism in the context of music cultures in Southeast Asian countries such as the Philippines, Indonesia, Thailand, Malaysia, and Vietnam. Students gain an understanding of how tourist settings, events, and artifacts are produced, interpreted, and consumed, and the important role of music and music-related practices in the process. In particular, the class zeroes in on two specific settings common to many tourist experiences, the festival and the "cultural show." Among the issues Music 217 explored: the production of the exotic for the consumption of the "other"; tradition andauthenticity; the commodification of music culture and history; and the politics and aesthetics of cultural/musical production.
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4.00 Credits
STS Across the contemporary artistic spectrum, electroacoustic sound and music are increasingly in confrontation with the visual. This course focuses on the work of student composers, with special emphasis on interdisciplinary forms. Readings supplement compositional exercises, but the course is primarily intended as an open format for the critique and exploration of ongoing student work. Also examined are works from the field, in the areas of video, animation, digital media, broadcasting, podcasting, and new forms of graphical/digital notation. Prerequisite: consent of the instructor.
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4.00 Credits
The first decade of the 20th century saw an explosion of innovative compositional theories and directions. Led by Debussy and Schoenberg, composers began to reshape the future of music. Harmonic symmetries commingled with traditional diatonic and chromatic practices to bring new colors, textures, form, and freedom, leading to the wide array of musical styles and aesthetics heard today. Students listen to and analyze selected seminal works, from Debussy to Messiaen and Ligeti, in their historical context. This course counts toward a music theory credit.
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4.00 Credits
Long reviled as a charlatan and/or madman, John Cage has finally achieved recognition as one of the most influential composers and musical thinkers of the late 20th century. This course focuses primarily on an analysis of his music, encompassing such innovations as the prepared piano, chance, and indeterminacy. Also considered is the work of his teachers and influences, as well as his collaborators from the worlds of music, visual arts, dance, literature, politics, and religion. Prerequisite: permission of the instructor.
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4.00 Credits
Asian Studies The course begins with an examination of the ancient repertories of Buddhist chant ( shomyo) and court music ( gagaku). Students also consider the Zen-inspired shakuhachi ( end-blown bamboo flute) honkyoku and music for biwa ( lute), shamisen, koto, and other traditional instruments. After exploring the impact of Western music on Japan, the class focuses on the combination of traditional Japanese instruments and forms with Western contemporary classical techniques, as exemplified by the work of Toru Takemitsu, Yuji Takahashi, Toshi Ichiyanagi, and others. Also explored are postwar experimental groups; key figures such as Yoko Ono and Takehisa Kosugi, and recent developments in "noise" music byMerzbow and Otomo Yoshihide,which are examined in the context of the current scene, in which traditionally trained gagaku musicians collaborate freely with electric guitarists, turntablists, and laptop players.
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4.00 Credits
This course introduces methods for the jazz improviser to deconstruct and reorganize the basic harmonic and rhythmic elements for a composition. Issues addressed include reharmonization, remetering, metric modulation, and variations in phrasing, tempo, and dynamics; that is, the arrangement and reorganization of compositional elements. This is a performanceoriented class, and the repertoire includes jazz standards and compositions of the instructor. The class is open to moderated, Upper College students who have successfully completed Jazz Harmony I and II, and previous jazz repertory classes. This course fulfills an upper-level music theory requirement for music majors.
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4.00 Credits
The term "applied ethnomusicology" hasemerged to help define how ethnomusicologists interact with people and interests beyond the traditional domain of academia. But what does "applied" actually mean? As it stands, appliedethnomusicology encompasses world music pedagogy, community activism, archiving, and grassroots organizing, among many other forms of engagement. This seminar addresses the theoretical, practical, and ethical issues that develop from community application as well as real-world applications of museum work, sound media production, ethnographic filmmaking, concert promotion and artist management, and cultural policy/brokering. A practical component involves a collaborative project through which students have an opportunity to put the things they learn into practice in connection with a neighborhood community.
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4.00 Credits
The works of Prokofiev and Shostakovich are mainstays of the standard concert repertoire, and this course seeks to place them in the context of their time. Students examine Russian history from the Bolshevik Revolution of 1917 to the 1970s, read excerpts from relevant literary works, and discuss key compositions-operas and symphonic and chamber works-by the two composers.
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4.00 Credits
J. S. Bach is regarded as one of the greatest musicians of the Western art tradition. This survey examines his life and music in light of the most recent research. Special emphasis is placed on various traditions and questions of performance practice, with regular classroom performances. This course satisfies a history requirement for the music major but is also recommended for the general student.
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