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Course Criteria
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3.00 Credits
A course or seminar offered from time to time and reserved for a special topic selected by the department. Staff.
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3.00 Credits
Music embodies a kind of radical potentiality, a statement of the possibilities dormant in cultural norms. This potentiality is of central concern to the musicologist, whose role is to understand the relationship between music and its historical context. This course addresses the capacity of music for creating social meaning and embodying cultural change. Students engage with influential writings in historiography, music criticism, ethnography, performance practice, and analysis, with perspectives on repertory ranging from Josquin des Prez to Kanye West, from Robert Schumann to the Ronettes. Prerequisite(s): Music 232. Enrollment limited to 15. [W3] D. Chapman.
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3.00 Credits
The field of musicology was created with the purpose of perpetuating the notated music of past eras as a musical tradition. Musicologists have created canons of works, editing their texts and offering guidance to their performance. But the field has increasingly concerned itself with unnotated kinds of music as well, especially folk music and jazz. Some scholars have treated this unnotated music as texts-through transcriptions, recordings, and film-while others have demanded more appropriate approaches to it. At the same time, scholars working on notated music have challenged the field's tradition of text worship. This course introduces the debates. Prerequisite(s): Music 232. Not open to students who have received credit for Music 399G. [W3] J. Parakilas.
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3.00 Credits
This course introduces students to ethnomusicological methods by encouraging the development of critical and analytical tools of inquiry necessary for fieldwork and research. The course focuses on the social, cultural, political, and intellectual forces that have shaped the growth of ethnomusicology in the United States and abroad. Students are expected to undertake an innovative research project on a theoretical approach to musical study in its cultural and historical context. They incorporate into their projects musical analysis, current philosophical thoughts on ethnomusicology, and their own personal interviews with musicians. Prerequisite(s): Music 212. Not open to students who have received credit for Music 399B. Enrollment limited to 15. [W3] G. Fatone.
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3.00 Credits
An independent study program culminating in: a) an essay on a musical topic; b) an original composition accompanied by an essay on the work; or c) a recital accompanied by an essay devoted to analysis of works included in the recital. Students register for Music 457 in the fall semester and for Music 458 in the winter semester. Majors writing an honors thesis register for both Music 457 and 458. Normally offered every year. Staff.
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3.00 Credits
An independent study program culminating in: a) an essay on a musical topic; b) an original composition accompanied by an essay on the work; or c) a recital accompanied by an essay devoted to analysis of works included in the recital. Students register for Music 457 in the fall semester and for Music 458 in the winter semester. Majors writing an honors thesis register for both Music 457 and 458. Normally offered every year. Staff.
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3.00 Credits
An independent study program culminating in: a) an essay on a musical topic; b) an original composition accompanied by an essay on the work; or c) a recital accompanied by an essay devoted to analysis of works included in the recital. Students register for Music 458 in the winter semester. Majors writing an honors thesis register for both Music 457 and 458. Normally offered every year. Staff.
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3.00 Credits
This course explores the development of electronic dance music, from its inception in the house and techno subcultures of Chicago and Detroit to its global apotheosis as the soundtrack for rave culture. The enormous popularity of this music challenges some of our most deeply held cultural assumptions, and raises crucial questions about the relationships between music, technology, the body, and culture: How do various subgenres of electronic dance music map out our sense of postindustrial reality In what ways do the use (and deliberate misuse) of such sound technologies as turntables, digital samplers, drum machines, and musical software challenge traditional notions of musical authorship and authenticity In what sense do these genres and subcultures present alternative models of sexuality, or different ways of understanding the politics of the body Enrollment limited to 30. D. Chapman.
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3.00 Credits
This course introduces students to traditional music of Indonesia through study and performance of gamelan (gong-chime orchestra) and related theater arts under the leadership of a resident Indonesian artist-scholar. Students develop collaborative rehearsal and performance skills in a largely oral transmission setting, experiencing alternative modes of both conceptualizing and learning music. Class members have the additional opportunity to study independently with the resident artist. Study culminates in a series of local/regional public ensemble performances. Students learn to locate Indonesian gamelan in the larger context of Southeast Asian performing arts. Enrollment limited to 20. G. Fatone.
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3.00 Credits
A study of performance issues in the Western classical tradition of music. How does a composer convey a fully developed conception of a musical work through written notation How does a performer interpret that notation How do performers reconcile past with present resources and conditions, and how do they learn to improvise in this tradition Through study of historic performance textbooks, early and recent recordings, and current debates about performance, students consider how performance traditions are passed on and challenged and how interpretative concepts are translated into sound. Projects may take the form of either performance or written analysis. Prerequisite(s): Music 272. Not open to students who have received credit for Music 220. J. Parakilas.
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