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  • MEDIA & SOCIETY 225: Age of Propaganda II:1945-2001 The

    3.00 Credits
    Hobart William Smith Colleges

    advent of modern or mechanized warfare brought awareness that propaganda directed at the home front, the enemy, and neutrals was as essential to victory as effective deployment of resources, weapons, and soldiers. Propaganda techniques developed during World War I have had significant influence over the later emergence of public relations and advertising. This course examines the history and influence of war propaganda especially but not exclusively of the United States during the twentieth century, the Age of Propaganda. (Robertson, Spring, each offered alternate years)
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  • MEDIA & SOCIETY 300: Making the News

    3.00 Credits
    Hobart William Smith Colleges

    This course examines how the news is made. Students are introduced to the concept of narrative or representational paradigms used to structure news stories, epistemological and ethical questions in considering who makes the news and why, as well as to issues relevant to what constitutes news and its social implications. The course project consists of the research and editing of a film documentary. Students learn how to edit raw videotape to shape news stories and analyze the implications of their choices. The course develops skills in collaborative learning, research, critical thinking, writing, and editing for visual impact. Prerequisites: MDSC 100 and permission of instructor. (Robertson, offered alternate years)
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  • MEDIA & SOCIETY 303: Social Documentary

    3.00 Credits
    Hobart William Smith Colleges

    Photography and moving images have been used to enlighten those who do not suffer to the lives of those who do, to forward social change, and to influence social policy, sometimes progressively and sometimes not. This course examines visual social documentary's influence, largely confined to consideration of American social documentarians, including influence of photographers of immigrants' conditions in major cities during the early 20th century; government-sponsored documentation of rural Americans' lives during the Great Depression; and documentary films which have shaped social conscience from consciousness. (Robertso n, Spring, offered alternate years
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  • MEDIA & SOCIETY 304: Media and Theory

    3.00 Credits
    Hobart William Smith Colleges

    This course provides an in-depth study of media forms and their modes, methods, and themes. We will explore the role of media in shaping social consciousness, material culture, and the experience of modern life. We will survey key theoretical works in media studies and cultural studies by reading them along with primary documents such as film texts, radio broadcasts, television programs, magazine and newspaper articles, soundtracks, digital environments, and more. Consumer attitudes, narrative forms, artistic practices, and modes of production will be investigated for their ideological.
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  • MUSIC 100: Introduction to Music Literature

    3.00 Credits
    Hobart William Smith Colleges

    This course is intended to deepen the meaning of experiencing music as a living language from listening to Beethoven's Fifth Symphony performed in the concert hall to hearing the soulful strains of blues in a Chicago club, or the "exotic" timbres and tunings of a Balinese gamelan. Each repertory is unique in its materials and methods of organization, each elicits a unique set of values and feelings in response. Each is described and assigned meaning through the cultural filters of our own individual backgrounds. Music utilized in the American tradition based on European models is surveyed, as are representative models from contrasting cultures. (Berta, Staf f, offered each semester
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  • MUSIC 110: Introduction to Music Theory

    3.00 Credits
    Hobart William Smith Colleges

    Fundamentals and basic principles of Western music theory and their application are presented in this course. Specific areas include the study of clefs, major minor scales, key signatures, intervals, and triads. Music notation and terminology are discussed. The final half of the course covers an introduction to four-part harmonic writing, use of chords in root position, and inversions. Basic ear training techniques are employed. (Cowles, Staff, offered each semester)
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  • MUSIC 120: Tonal Theory and Aural Skills I

    3.00 Credits
    Hobart William Smith Colleges

    This course strives to produce a listener/performer who can perceive sound in meaningful patterns-developing a hearing mind from the Western classical tradition, including diatonic scales; intervals; keys and triads; introduction to principles of voice leading; Roman numeral analysis; functional harmony; and non-chordal melodic elements. The approach is an integrated one, providing both the theoretical knowledge necessary for analysis and composition and the aural skills necessary for perception and performance. Prerequisite: MUS 110 or permission of the instructor. (Cowles, offered annually)
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  • MUSIC 121: Tonal Theory and Aural Skills II

    3.00 Credits
    Hobart William Smith Colleges

    This course continues goals outlined for MUS 120. It explores further techniques of part writing, including tonicization and modulation to closely related keys, and the use of seventh chords. (Cowles, offered annually)
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  • MUSIC 130: Beethoven:The Man and His Music

    3.00 Credits
    Hobart William Smith Colleges

    This course deals specifically with the music of Beethoven. Among the compositions carefully examined and listened to are his nine symphonies; his opera Fidelio; concertos such as The Emperor; piano sonatas such as The Pathetique, Appassionata, and Moonlight; selected string quartets; and his Missa Solemnis. Beethoven's place in history, his personality, his leading the way to individualism and subjective feeling in music, and his vision of human freedom and dignity are also explored. (Berta, offered alternate years)
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  • MUSIC 135: Music in America:1750-2000 Investigating

    3.00 Credits
    Hobart William Smith Colleges

    the panorama of American Music to reveal its infinite variety and vitality, origins of American music are traced from the Native Americans, to the psalm singing colonials, to the African slaves. Eighteenth century works by Billings and Mason are examined. Emphasis is placed on 19th- and 20th-century music. Compositions include works by Ives, Copland, Gershwin, Crumb, Antheil, and Bernstein. (Berta, offered alternate years)
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