|
|
|
|
|
|
|
|
|
|
Course Criteria
Add courses to your favorites to save, share, and find your best transfer school.
-
3.00 Credits
N. Kenderian 3 points
-
3.00 Credits
Not offered in 2009-2010. 3 points
-
3.00 Credits
N. Sohrabi 3 points
-
-
4.00 Credits
Two semesters of supervised interdisciplinary research in Medieval or Renaissance Studies terminating in the writing of a senior essay. The program of research is determined in consultation with the chair and under the guidance of the area adviser. It is supervised by the latter and an adviser from the second discipline involved in the project. 4 points
-
3.00 Credits
Jewish Music is rich and diverse. We known more about the contexts and uses of Jewish music than the music itself. Prior to recordings of music, musical notation is the most accurate record of the "actual" music. Notation of Western music develops and grows from the year 1000. For Jewish music the date of notation of music is 1750. Ashkenazic European liturgical music traditions are the first to be notated in the Jewish traditions. Secular and art music does not begin for well over one years, it begins in the late 1800s. Many liturgical traditions remain in the oral tradition. There are many challenges to understand the history of Jewish music. Investigating the role of culture and contexts of Jewish music opens the door for a productive inquiry. Topics for discussion include: tradition and innovation, nationalism, culture contact, responses to modernity, and music and identity. - M. Kligman 3 points
-
3.00 Credits
Fulfills the requirement of the 3000-level advanced theory elective. This course was previously offered as V3360, Pre-Tonal and Tonal Analysis. Detailed analysis of selected tonal compositions. This course, for advanced undergraduates and beginning graduates, is intended to develop understanding of tonal compositions and of theoretical concepts that apply to them, through study of specific works in various forms and styles. - D. Cohen Prerequisites: MUSI V3321 or the equivalent. 3 points
-
3.00 Credits
Performance has been theorized from a wide range of academic disciplines including: cultural/social anthropology, linguistics, ethnomusicology, musicology, performance and cultural studies, and literary theory. Additionally, in the past decade, performance and performativity have been useful cross-disciplinary tools for thinking through categories such as gender, sexuality, identity and race and concepts of representation and power. This course treats performance (from performance in the arts to theories of performativity in the everyday) as a lens through which to understand relationships between expressive aesthetic practices and social life. What might we learn from thinking about ethnography as performance, history as performance, or text as performance What challenges do theories of performance pose to the ethnographic study of music and the reception of music What unique challenges might the study of musical process and artistry pose to performance theory We will get at some of these questions through situating contemporary performance ethnographies within the context of an historical genealogy of theories of performance from the perspective of the social sciences and the humanities. - E. Gray Prerequisites: Permission of the instructor. Not offered in 2009-2010. 3 points
-
3.00 Credits
Course designed to train students to arrange and compose in a variety of historical jazz styles, including swing, bebop, hard bop, modal, fusion, Latin, and free jazz. - D. Sickler Prerequisites: V2318-19 Diatonic Harmony or equivalent. 3 points
-
3.00 Credits
The course explores programming techniques and concepts in computer music interactivity, or the creation of compositions that incorporate software that responds to live musical performance, environmental activity, and other real-world contingencies. The Max/MSP programming platform is sued for MIDI, digital audio, and other interfacing techniques. Interactive works from the worlds of music, visual art, and performance are also presented. Basic knowledge of computer operation is required; basic knowledge of MIDI, Max/MSP, and/or digital audio is recommended. - G. Lewis Prerequisites: Basic computer operating system knowledge.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Privacy Statement
|
Terms of Use
|
Institutional Membership Information
|
About AcademyOne
Copyright 2006 - 2024 AcademyOne, Inc.
|
|
|