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Course Criteria
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1.00 Credits
Symphonies, Choral Works, Opera. We will listen to a variety of music from the concert repertory of the eighteenth through early twentieth centuries, focusing on multi-movement works in their entirety. Out-of-class listening is an important component of this class: we will attend concerts at Trinity, at the Bushnell in Hartford, and at least one concert in either Manhattan or Boston. Featured composers include Vivaldi, Bach, Handel, Beethoven, Mozart, Schubert, Schumann, Brahms, Wagner, Verdi, Debussy, Bartok, and Stravinsky. No previous training in music is required. 1.00 units, Lecture
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1.00 Credits
Few periods have been as rife with creative artistic expression as the first three decades of the 20th century. This course will examine ballet, opera, and "mixed entertainments" by such composers as Debussy, Ravel, Falla, Stravinsky, Bartok, Sch9Aenberg, and Weill, taking note of the developments in dance, drama, and the graphic arts (as well as in scientific and philosophical awareness) that complement breakthroughs in musical style and form. Such well-known artistic names as Nijinsky, Picasso, Brecht, Cocteau, and Wilde will be discussed. No previous training in music is required. 1.00 units, Lecture
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1.00 Credits
A broad survey of the music and music-making traditions of European and North American women from antiquity to the present. We explore the work and lives of women active as composers and performers in a range of genres, including the classical traditions, blues, jazz, and hip hop. No previous training or experience in music is required. 1.00 units, Lecture
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1.00 Credits
An introductory survey of the greatest period in Italian music, from the early 16th century to c. 1730. Composers to be studied include Palestrina; masters of the madrigal, such as Marenzio and Gesualdo; Claudio Monteverdi, the greatest Italian composer of the age; composers of harpsichord music, including Domenico Scarlatti; and concerto composers Arcangelo Corelli and Antonio Vivaldi. No previous background in music is required. 1.00 units, Lecture
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1.00 Credits
(formerly "Women and Music in Cross-Cultural Perspective") This course provides global perspectives on women's and men's roles as performers, composers, teachers, and consumers of music. Through historical, ethnographic, and sociological methods, we will consider how various cultures construct ideas about womanhood and manhood through musical practice and reception. Topics include: gender issues in jazz, blues, rap, rock, and salsa; musical performance by transvestites and concubines; "girl power" and emergent musical identities for pre-/early adolescent girls; and women performers in Latin America, Africa, Eastern Europe and India. Classes will be framed by discussions about sexuality, misogyny, the intersection of race and gender, and the separation of musical roles by gender. 1.00 units, Lecture
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0.00 Credits
While Johann Sebastian Bach is arguably the greatest composer in the history of Western music, he is perhaps also the least cosmopolitan, not venturing more than a few hundred miles from his birthplace in Germany in 1685. A humble church and court musician, he composed music for specific uses and commissions (not merely, as is the case sometimes in later centuries, to "express himself"), seeking to honor God and to flatter Dukes and Kings. Among the works we will examine are instrumental music for solo instruments as well as for orchestra (suites, concertos, sonatas) and vocal music (cantatas, motets, Passion and Mass settings), looking at the pieces he wrote in the context of the society for which he produced them. We will also attend several performances of Bach works presented in the Hartford area. No formal training or previous courses in music are prerequisite. 1.00 units, Lecture
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1.00 Credits
An introduction to the life and music of Wolfgang Amadè Mozart (1756-1791). The course will also examine other composers of Mozart's time, and consider the relationship between Mozart's music and the main themes of Enlightenment thought in the 18th century. No previous training in music is required 1.00 units, Lecture
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1.00 Credits
An introduction to the life and work of Ludwig van Beethoven, who after more than 200 years is still the most loved and admired of all composers of classical music. This course will focus both on Beethoven's masterpieces-his symphonies, piano sonatas, string quartets, and other works-and on the effect they had on audiences and the musicians who tried to follow in Beethoven's footsteps. No previous training in music is require 1.00 units, Lecture
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1.00 Credits
It is generally agreed that Igor Stravinsky is the greatest of the 20th-century classical-music composers, his compositional range extending from the traditional forms of symphony, concerto, opera, and ballet to, most significantly, the mixed-genre form he invented that combines song, accompaniment, theater, dance, and mime. His 1913 ballet, The Rite of Spring, caused a modernist ruckus the ramifications of which we still feel today. Though Stravinsky "Westernized," as did many 19th- and 20th-century Russian composers, he nevertheless continued in his devotion to the ritual traditions of the Russian Orthodox Church and to Russian folk music, both of which saturated his music-whether it was composed in St. Petersburg, Paris, or Los Angeles. Its effect even entered pop culture to the extent that in 1940 the Walt Disney film, Fantasia, included large portions of the score to accompany no less than the evolution of Earth up to the age of the dinosaurs. More recently, John Williams's score for the movies Jaws and Superman, for example, reveal the inescapable pull of Stravinsky's innovations for composers of all types. 1.00 units, Lecture
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0.00 Credits
With emphasis on making original compositions, this course approaches the phenomenon of song in three traditions: folk, popular, and classical. Singing, playing, listening, and discussion will ground an in-depth, experiential exploration of a variety of song types, from musical and textual perspectives. Targeted written exercises, focused on basic musical and verbal compositional problems, will help students acquire techniques and skills, and get experience with several appropriate notational formats. Students will develop the sketches that come out of this process into complete, notated songs. The course culminates in an open, informal workshop performance, sharing students' original work. Students must be willing to sing during each class, and basic proficiency on a chordal instrument such as a guitar or keyboard is required. Prerequisite: Music 101 or permission of the instructor. 1.00 units, Lecture
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