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Course Criteria
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1.00 Credits
Special topics in ethnomusicology, approached through emphasis on a particular musical area, theoretical issue, genre or repertory, compositional technique, or instrument. The course is devoted to non-Western musical cultures. Meets the ethnomusicology requirement for the music minor. Block 1: Topics in Ethnomusicology: Music of Cuba. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Anthropology 221.) 1 unit - Schormann.
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1.00 - 9.00 Credits
Special topics in ethnomusicology, approached through emphasis on a particular musical area, theoretical issue, genre or repertory, compositional technique, or instrument. The course is devoted to non-Western musical cultures. Meets the ethnomusicology requirement for the music minor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Not offered 2008-09.) 1 unit.
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1.00 - 9.00 Credits
" An exploration of the life and music of Ludwig van Beethoven (1771-1827). The course will begin with an overview of Beethoven's artistic inheritance from Haydn and Mozart, particularly in regard to symphonies, piano sonatas and concertos, string quartets, music for the stage, and sacred music. The powerful and daring works of Beethoven's middle period, the time of his increasing deafness, proved a challenge to this inheritance, and these compositions dominated the aesthetic concerns of the most important Western composers who followed Beethoven in the nineteenth century. The transcendental, reflective, and even puzzling works that Beethoven created in his last years - while his behavior was becoming more erratic and disturbing - were not fully appreciated by his contemporaries and immediate successors. Indeed, their artistic value and influence were not generally acknowledged until the twentieth century. This course will focus on the musical and biographical considerations that can be used to describe Beethoven as a Viennese Classical, Romantic, and post-Romantic figure, as well as his role in forming the modern concept of the performing artists and composer. No musical background is required. (Not offered 2008-09.) 1 unit.
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3.00 Credits
This interdisciplinary course traces the many musical traditions of the Jewish world communities in a journey from Temple singing and desert ceremonies in biblical times, through music of Mendelssohn, Mahler, and Schoenberg, to works of individuals such as Gershwin, Copland, Berlin, and Bernstein. Included will be a comparative study of the three major religions of the Western world exploring their respective voices and musical interaction. Sociology, literature, religion and history, as well as issues of ethnicity, cultural unity and self-expression, will be engaged in this multicultural search for musical identity. (Also listed as Religion 224.) (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Religion 224.) 1 unit - Ben-Amots.
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5.00 - 9.00 Credits
" An exploration of the romantic operas, the music-dramas, and the aesthetic principles of Richard Wagner, with special emphasis on The Ring of the Niebelung. Excellent production of the Ring music-dramas (The Rhine Gold, The Valkyrie, Siegfried, Twilight of the Gods) will be viewed on videotape, laserdisc and DVD . (Not offered 2008-09.) .5 unit.
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1.00 Credits
Particular aspects in music, approached through emphasis on a form, period, composer(s), area or medium. Blocks 1-8: Vocal Literature and Language. This course provides vocal students with a broad view of classic vocal literature from many languages, countries and areas. It provides the tools for pronunciation in foreign languages through teaching the International Phonetic Alphabet (IPA) to pronounce and sing vocal literature. Taught as an extended format course and must be taken for a full year. Blocks 1 - 8: Topics in Music: Vocal Literature and Language. This course provides vocal students with a broad view of classic vocal literature from many languages, countries and areas. It provides the tools for pronunciation in foreign languages through teaching the International Phonetic Alphabet (IPA) to pronounce and sing vocal literature. Taught as an extended format course and must be taken for a full year. 1 unit - Hansen. Block 2: Topics in Music: Politics and Music. Prerequisite: FYE Course. 1st Years Only. Must take Political Science 101 block one for credit. 1 unit - Cronin.
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3.00 Credits
Half-Block: Topics in Music: Introduction to Jazz Theory. Review of basic theory skills and the relationships between traditional Western harmony and jazz theory and nomenclature. Comparative analysis of harmonic rhythm, form, and structure in classical and jazz compositions. Study and performance of basic jazz scale and chord theory, standard chord progressions and jazz forms on either piano or other jazz instruments. Analysis of transcribed improvised jazz solos and popular music to develop understanding of practical applications of jazz theory by either improvising on their respective instruments or orchestrating a short composition for performance by class members. Prerequisite: Consent of Instructor or Music 199. .5 unit - Matzke. Half-Block: Topics in Music: Introduction to Jazz Theory. Review of basic theory skills and the relationships between traditional Western harmony and jazz theory and nomenclature. Comparative analysis of harmonic rhythm, form, and structure in classical and jazz compositions. Study and performance of basic jazz scale and chord theory, standard chord progressions and jazz forms on either piano or other jazz instruments. Analysis of transcribed improvised jazz solos and popular music to develop understanding of practical applications of jazz theory by either improvising on their respective instruments or orchestrating a short composition for performance by class members. Prerequisite: Consent of Instructor or Music 199. .5 unit - Matzke. Block 6: Topics in Music: Mathematical Explorations - Music and Math. Mathematics and music are disciplines with much in common - from Ancient Greek times when music was classified as one of the mathematical arts, to the present day when composers use mathematical ideas (set theory, magic squares, fractals, block designs) in their compositions. This introductory course is to explore some of the many links between music and contemporary music. No previous knowledge of either discipline is assumed. (Meets the Critical Perspectives: Scientific Investigation of the Natural World requirement.) (Also listed as Mathematics 110.) 1 unit - Wilson. Block 7: Topics in Music: The Age of Genius - The Enlightenment through Music and History. Investigates some of the composers, writers, and theorists who made the long eighteenth century an Age of Enlightenment. Focusing on what many scholars have called the "Birth of Modernity," we will explore the broad-based questioning of Old Regime institutions and cultural practices. We will study the works of political theorists, such as Locke, Voltaire, and Kant, writers, including Beaumarchais and Goethe, and composers, such as Haydn, Mozart, and Beethoven. (One week in Baca). Prerequisite: ( One week in Baca). (Also listed as History 200.) 1 unit - Grace, Ragan.
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5.00 - 9.00 Credits
An introduction to the great dramatic stage works of Giuseppe Verdi (1813-1901). This course will begin with an examination of the classical Italianate operatic line as seen in the masterworks of Mozart, Rossini, Donizetti, and Bellini. Out of this tradition Verdi formed his first great success, Nabucco, and he subsequently transformed the genre with his great "Romantic trilogy," Rigoletto, Il trovatore, and La traviata. Verdi's later experiments and his final creations Aida, Otello, and Falstaff eventually moved beyond Romanticism into a post-Romantic sensibility. All of these works will be viewed in productions on videotape, laserdisc and DVD. (Not offered 2008-09.) .5 unit.
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1.00 - 9.00 Credits
This course examines the interaction of women's musical lives with politics, society, and spirituality, and will focus primarily on the twentieth century. We will look at artists like Aretha Franklin and South Africa's Miriam Makeba and their relationship to the Civil Rights struggles in their countries; Joni Mitchell, Holly Near, punk rocker Patti Smith, and performance artist Laurie Anderson and their relationship to the feminist movement; Mary Lou Williams Billie Holiday, Bessie Smith and the integration of women into jazz; Joan Tower, Marin Alsop, Maria Callas, Marian Anderson and the traditions of Western Classical Music; and the role of the ingenue and character roles in the Broadway musical - from Rodgers and Hammerstein to Stephen Sondheim. In addition to twentieth century women, we will also review the lives of women frame drummers of earliest history, as well as the seminal figures Amy Beach, Clara Schumann, and the mystic visionary Hildegard von Bingen. Women's diaries and oral histories will be a major source for the class, as well as video and extensive listening to recordings. (Not offered 2008-09.) 1 unit.
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3.00 Credits
How do musical experiences help define gender roles and sexuality These experiences are examined across a wide range of musical genres and cultural contexts. How might gender and sexual identity be shaped, for example, by writing the biography of a homosexual classical composer, joining a community of heavy metal fans, singing as an Italian castrato, or a 19th-century Indian courtesan, impersonating Elvis Theoretical approaches drawn from feminist studies, gender and sexuality studies, and queer theory. (Also listed as Feminist and Gender Studies 229.) 1 unit - Bhattacharjya.
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