|
|
|
|
|
|
|
|
|
|
Course Criteria
Add courses to your favorites to save, share, and find your best transfer school.
-
3.00 Credits
Kallberg. Prerequisite(s): Music 021. Open to all students. Manifestations of Romanticism in the music of the nineteenth century, exclusive of Beethoven.
-
3.00 Credits
Dillon. Open to all students. This course aims to introduce students to the history of opera, from its beginnings in sixteenth-century Italy down to the present day. It will treat the main conventions of opera at each stage of its development and the social contexts in which opera was and is listened to, and aim to develop technical skills for the appreciation of opera. Detailed study of operas by Monteverdi, Handel, Mozart, Donizetti, Verdi, Wagner, Puccini and Stravinsky will leave students with a context and a vocabulary for understanding and talking about opera, designed to enhance their future encounters with opera.
-
3.00 Credits
Bernstein, Staff. Open to all students. A survey of representative symphonies by such composers as Haydn, Mozart, Beethoven, Schubert, Berlioz, Schumann, Brahms, Tchaikowsky, and Mahler. Historical developments will be considered, along with the effects upon symphonic literature of such major sociological changes as the emergence of the public concert hall. But the emphasis will be on the music itself--particularly on the ways we can sharpen our abilities to engage and comprehend the composers' musical rhetoric.
-
3.00 Credits
Butler. An exploration of diverse styles of popular music from historical, cultural, and musical perspectives. Students will use their critical thinking and writing skills to develop a sophisticated understanding of the roles popular music plays in modern life. Ability to read music is not required.
-
3.00 Credits
Arts & Letters Sector. All Classes. Muller. This course examines how we as consumers in the "Western" world engage with musical difference largely through the products of the global entertainment industry. We examine music cultures in contact in a variety of ways-- particularly as traditions in transformation. Students gain an understanding of traditional music as live, meaningful person-to-person music making, by examining the music in its original site of production, and then considering its transformation once it is removed, and recontextualized in a variety of ways. The purpose of the course is to enable students to become informed and critical consumers of "World Music" by telling a series of stories about particular recordings made with, or using the music of, peoples culturally and geographically distant from the US. Students come to understand that not all music downloads containing music from unfamiliar places are the same, and that particular recordings may be embedded in intriguing and controversial narratives of production and consumption. At the very least, students should emerge from the class with a clear understanding that the production, distribution, and consumption of world music is rarely a neutral process.
-
3.00 Credits
This course examines the extraordinary influence of musical expression on literary works in the African American tradition. Drawing on a wide range of texts from fiction and poetry to autobiography, musicology, literary criticism and reportage, we will pay particular attention to how music figures as a sign of authenticity in black literature as slavery, the Great Migration of the early 20th century, class mobility and gender identities put pressure on the politics of belonging. Throughout the course the relationship between African American culture and the wider Black Atlantic will remain a crucial concern. We'll begin with the role of music as memory in accounts of remembered Africa songs in autobiographical work by W.E.B. Du Bois, Toni Morrisons Song of Solomon, and a film tracing a mourning song in the Gullah islands of South Carolina to its corollary among the Mende people of Sierra Leone. We'll then spend some time listening to vernacular music (spirituals, work-songs, and blues) and explore the politics of how and why these forms found varying degrees of acceptance, particularly in the milieu of the Harlem Renaissance and the New Negro movement. Students need not have an extensive background in musicology, but should be prepared to devote time to weekly listening.
-
3.00 Credits
Staff. An introduction to the tabla, the premier drum of north Indian and Pakistani classical music traditions.
-
3.00 Credits
Nalbandian. Introduction to the fundamentals of Indian music; instruction in performance on the sitar.
-
3.00 Credits
Staff. Continued study in Tabla
-
3.00 Credits
Nalbandian. Continuation of MUSC 061.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Privacy Statement
|
Cookies Policy |
Terms of Use
|
Institutional Membership Information
|
About AcademyOne
Copyright 2006 - 2025 AcademyOne, Inc.
|
|
|