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Course Criteria
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0.00 - 4.00 Credits
General historical survey of European Art Music in the period 1400-1600, covering such composers as Dufay, Ockeghem, Josquin, Byrd, Palestrina, Lasso, etc.
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0.00 - 4.00 Credits
A survey of major styles, genres, and modes of performance in European art music from about 1814 to the 1890's.
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0.00 - 4.00 Credits
This course explores the music, history, politics, and cultural meanings of taiko (Japanese drum) from a transpacific perspective. Rooted in festival traditions, ensemble drumming developed into a performance art in the postwar era, featuring coordinated choreography. Taiko is also popular in North America. Students participate in a hands-on workshop, learning techniques, choreography, and three pieces of traditional and modern styles.
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0.00 - 4.00 Credits
Explores the history, aesthetics, and social significance of music in the English and Hispanic Caribbean from the late 18th C to the present day. Genres studied include those in the art, traditional, and popular realms (e.g., music of santeria, contradanza, son, salsa, nueva trova, bomba, bolero, merengue, bachata, ska, reggae, dancehall, dub, calypso and soca) in Cuba, Puerto Rico, the Dominican Republic, Jamaica, and Trinidad. We consider the social conditions that led to the birth and diffusion of these genres; their musical characteristics; and the interrelationships among the musical styles of the Caribbean.
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0.00 - 4.00 Credits
This course seeks to stimulate an informed appreciation of American jazz within broad historical, social, and musical frames. Focusing on the time period from its so-called "birth" in New Orleans around 1900 to Ornette Coleman's infamous break with tonality heralded by the album Free Jazz in 1960, we will trace the evolution of jazz style and its cultural context.
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0.00 - 4.00 Credits
This course explores the history and aesthetics of popular music in North America and Great Britain from the release of the Beatles' Sgt. Pepper, to rock, punk, reggae, hip-hop, and electronic dance music up to the present day. We will explore the social conditions and business infrastructure that led to the birth and diffusion of these styles. We will also listen closely to the music itself, taking into consideration form, harmonies, rhythm, and production value. We will note how musicians and writers define musical style, and how this style draws from genres such as blues, classical music, and non-Anglo-American music.
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0.00 - 4.00 Credits
In this course we will try to understand the complex phenomenon of "tonality." We will theorize about harmony, voice leading, scales and study works by Schubert, Chopin, Wagner, Debussy, Ravel, Stravinsky, Reich and contemporary jazz.
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0.00 - 4.00 Credits
The second part of a three-year collaboration between the Princeton Atelier and the Music Department, Music 310 places a particular, but not exclusive, emphasis on music and words. We will explore more traditional "marriages" between music and text, as in the contemporary art song, as well as more experimental approaches, using narration, speaking while playing, performance art, electronics, and perhaps a dinner conversation or voice mail message. The main work is composing; listening assignments will arise from our creative work.
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0.00 - 4.00 Credits
An introduction to the fundamentals of computer and electronic music in the context of the Princeton Laptop Orchestra (PLOrk). The music and sound programming language ChucK, developed here at Princeton, will be used in conjunction with Max/MSP, another digital audio language, to study procedural programming, digital signal processing and synthesis, networking, and human-computer interfacing.
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0.00 - 4.00 Credits
An advanced course in jazz composition that emphasizes the process of creation. Students will be expected to develop original works utilizing a variety of compositional approaches, including: creating in collaboration, improvisation as a compositional strategy, as well as, non-musical techniques that will be translated into some form of musical representation.
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