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The College Catalogue

Music – Courses

First-Year Seminars

For a full description of first-year seminars, see the section on First-Year Seminars.

1011 c. Holy Songs in a Strange Land. Spring 2014. Judith Casselberry. (Same as Africana Studies 1019.)

Introductory, Intermediate, and Advanced Courses

1051 {61} c - VPA. Fundamentals of Music. Every semester. Fall 2013. Robert Greenlee. Spring 2014. Anthony Antolini.

For the entry-level student. Explores the fundamental elements of music—form, harmony, melody, pitch, rhythm, texture, timbre—and teaches basic skills in reading and writing Western music notation for the purposes of reading, analyzing, and creating musical works.

Music courses numbered 1100 {120} through 1399 {149} cover specific aspects of music history and literature, designed for students with little or no background in music. Course titles and contents may change every semester.

1101 {131} c. Sound, Self, and Society: Music and Everyday Life. Every fall. Fall 2013. Tracy McMullen.

Explores the role of music and sound as social practice, political catalyst, market commodity, site of nostalgia, environment regulator, identity tool, and technology of the self. Enables students to communicate about sound and music. Addresses music in relation to mood manipulation; signification and “noise”; taste and identity; race, class, gender, and sexuality codes; repetition and form; “urban tribes” and subcultures; the cult of the expert; economics and politics; power; authenticity; technology; and multinationalism. Musical genres will be primarily within American popular music. Case studies may include gym, study, road trip, and party playlists; karaoke; tribute bands; music in film; music revivals; “cock rock”; the gendered nature of instruments; suburban punk; Muzak; advertising jingles; and Starbucks.

1241 {125} c - IP, VPA. Music of the Middle East. Spring 2014. Mary Hunter.

A survey of music in both Arab and non-Arab countries of the Middle East and North Africa. Students learn the fundamental melodic and rhythmic features of music of this region and then address a variety of topics like music and Islam, music and dance, and the music of particular regions or histories. Includes live demonstrations by professional musicians.

1260 {141} c - ESD, VPA. American Indian Musical Traditions in Eastern North America. Fall 2013. Susan M. Taffe Reed.

An introductory course exposing students to the diversity of American Indian musical traditions in Eastern North America, and demonstrating the importance of music in the lives of Native people, particularly those in Maine and the Northeastern United States. Through assigned readings and listenings, class discussion, events, quizzes, writing a final paper, and delivering a presentation, students engage in critical analysis of issues that impact Native music, such as the complexity of categorizing music, stereotypes, and music revitalization.

[1269 {137} c - ESD, VPA. CuBop, Up-Rock, Boogaloo, and Banda: Latinos Making Music in the United States. (Same as Latin American Studies 1337 {137}.)]

1281 {121} c - VPA. History of Jazz I. Spring 2014. Tracy McMullen.

A survey of jazz’s development from its African American roots in the late nineteenth century through the Swing Era of the 1930s and 1940s, and following the great Swing artists—e.g., Louis Armstrong, Duke Ellington, Billie Holiday, and Benny Goodman—through their later careers. Emphasis is on musical elements, but includes much attention to cultural and historical context through readings and videos. (Same as Africana Studies 1581 {121}.)

[1292 {140} c - ESD, VPA. History of Hip-Hop. (Same as Africana Studies 1592 {159} and Gender and Women’s Studies 1592 {140}.)]

1301 {102} c - VPA. Introduction to Classical Music. Fall 2013. Mary Hunter.

Introduction to some major works and central issues in the canon of Western music, from the middle ages up to the present day. Includes some concert attendance and in-class demonstrations.

[1302 {103} c - VPA. Introduction to Opera.] 

1401 {101} c - VPA. Introduction to Music Theory. Every year. Fall 2013. Cristle Collins Judd.

Designed for students with some beginning experience in music theory and an ability to read music. Covers scales, keys, modes, intervals, and basic tonal harmony.

Prerequisite: Music 1051 {61}, placement into Music 1401 {101}, or permission of the instructor.

1451 {105} c - VPA. Introduction to Audio Recording Techniques. Every year. Spring 2014. Christopher Watkinson.

Explores the history of audio recording technology as it pertains to music, aesthetic function of recording technique, modern applications of multitrack recording, and digital editing of sound created and captured in the acoustic arena. Topics include the physics of sound, microphone design and function, audio mixing console topology, dynamic and modulation audio processors, studio design and construction, principles of analog to digital (ADA) conversion, and artistic choice as an engineer. Students will create their own mix of music recorded during class time.

[1501 {164} c - VPA. A cappella.]

2101 {211} c - VPA. Introduction to Ethnomusicology. Spring 2015. Michael Birenbaum Quintero.

An introduction to the principal theories and methods of ethnomusicology. Focuses on the foundational texts defining the cultural study of the world’s musics, drawing upon concepts and tools from both anthropology and musicology. Addresses issues regarding musical fieldwork, recording, and cultural analysis. Students engage in ethnomusicological field projects to put into practice what they study in the classroom.

Prerequisite: One course in music, or permission of the instructor.

2291 {201} c - ESD, VPA. Black Women, Politics, Music, and the Divine. Fall 2014. Judith Casselberry.

Seminar. Examines the convergence of politics and spirituality in the musical work of contemporary Black women singer-songwriters in the United States. Analyzes material that interrogates and articulates the intersections of gender, race, class, and sexuality, generated across a range of religious and spiritual terrains with African diasporic/Black Atlantic spiritual moorings, including Christianity, Islam, and Yoruba. Focuses on material that reveals a womanist (Black feminist) perspective by considering the ways resistant identities shape and are shaped by artistic production. Employs an interdisciplinary approach by incorporating ethnomusicology, anthropology, literature, history, and performance and social theory. Explores the work of Shirley Caesar, the Clark Sisters, Me’shell Ndegeocello, Abby Lincoln, Sweet Honey in the Rock, and Dianne Reeves, among others. (Same as Africana Studies 2201 {201}, Gender and Women’s Studies 2207 {207}, and Religion 2201 {201}.)

2292 {227} c - ESD, VPA. Protest Music. Spring 2015. Judith Casselberry.

Focuses on the ways black people have experienced twentieth-century events. Examines social, economic, and political catalysts for processes of protest music production across genres including gospel, blues, folk, soul, funk, rock, reggae, and rap. Analysis of musical and extra-musical elements’ style, form, production, lyrics, intent, reception, commodification, mass-media, and the Internet. Explores ways in which people experience, identify, and propose solutions to poverty, segregation, oppressive working conditions, incarceration, sexual exploitation, violence, and war. (Same as Africana Studies 2228 {228} and Anthropology 2227 {227}.)

2293 {251} c. Rebel Yell: Punk Music Inside and Outside the Mainstream. Fall 2013. Tracy McMullen.

Explores the significance of punk music from the 1970s to today. Addresses punk music in relation to transnational identity; the individual in late modernity; music vs. noise; sound and meaning; “selling out”; youth culture; subculture; “genre trouble”; music and fashion; rebellion and insurrection; the abject; constructions of the body and disease; and race, class, gender, and sexuality codes. Enables students to communicate about sound and music. Bands/artists discussed may include The Bags, The Germs, Nervous Gender, The Sex Pistols, The Bad Brains, Nirvana, The Runaways, Patti Smith, Television, X-Ray Spex, and The Clash.

2301 {255} c - VPA. The Western Canon. Every other year. Fall 2014. Mary Hunter.

The Western canon—the repertory of works and composers at the core of classical music—may seem pretty immutable. But in fact works and composers continually fall in and out of it, or move up and down in its hierarchy. At the same time, it has been extraordinarily difficult for the canon to include works by women, people of color, and non-Western composers. Examines the processes of, and pressures on, canon formation from about 1780 until the present and a number of pillars of classical music, from Handel’s Messiah and Haydn’s Creation to the symphonies of Shostakovich and the works of Nadia Boulanger’s students.

Prerequisite: Music 1051 {61} or 1401 {101}, or permission of the instructor.

2401 {203} c - VPA. Tonal Analysis. Spring 2014. Mary Hunter.

Through a survey of music from Bach to Chopin, the student learns to recognize the basic processes and forms of tonal music, to read a score fluently, and to identify chords and modulations.

Prerequisite: Music 2402 or 2403 {151 or 202}, or 1401 {101} with permission of the instructor.

[2402 {202} c - VPA. Write Your Own Classic Show Tune.]  

2403 {202} c - VPA. Songwriting and Song Analysis. Every fall. Fall 2013. Vineet Shende.

An intensive project-oriented course in which students will learn skills such as melodic and rhythmic writing, arranging, studio production, text-setting, and basic chromatic harmony, and how those elements combine to affect listeners on an emotional level. Repertoire studied will largely be chosen by students, but will also include songs by the Beatles, various Motown artists, Joni Mitchell, Prince, and Radiohead. Small-group and individual lab sessions scheduled separately. Not open to students who have credit for Music 151.

Prerequisite: Music 1401 {101}, placement in Music 2403, or permission of the instructor.

2501 {243} c - VPA. Introduction to Composition. Every spring. Spring 2014. Vineet Shende.

An introduction to the art of combining the elements of melody, harmony, rhythm, form, and orchestration to create cohesive and engaging music. Students learn techniques for generating and developing musical ideas through exercises and four main compositional assignments: a work for solo instrument, a theme and variations for solo instrument and piano, a song for voice and piano, and a multi-movement work for three to five instruments. Students also learn ways to discuss and critique their own and one another’s work. Ends with a concert of student compositions.

Prerequisite: Music 1401 {101} or permission of the instructor.

2551 {218} c - VPA. Introduction to Electronic Music. Fall 2013. Frank Mauceri.

Examination of the history and techniques of electronic and computer music. Topics include compositional aesthetics, recording technology, digital and analog synthesis, sampling, MIDI (Musical Instrument Digital Interface), and computer-assisted composition. Ends with a concert of student compositions.

Prerequisite: Music 1401 {101} or 2402 or 2403 {151 or 202}.

2601 {258} c - VPA. Classical Music and Performance. Spring 2015. Mary Hunter.

Performing classical music is different from performing many other sorts of music partly because it requires detailed attention to the musical score, and partly because it inevitably raises questions of history. Considers how score-analysis contributes to performance and investigates a wider variety of historical performance practices and attitudes. Projects include student performances with commentary and comparisons of recorded performances. Includes concert attendance and visits by professional performers.

Prerequisite: One of the following: Music 1051 {61}, or 1401 {101}, 2741 {277}, or 2801 {285}, or permission of the instructor.

[2602 {221} c. Improvisation.] 

2970–2973 {291–294} c. Intermediate Independent Study in Music. The Department.

2999 {299} c. Intermediate Collaborative Study in Music. The Department.

3102 {358} c - ESD, VPA. Music, Memory, and Identity. Every other year. Spring 2015. Tracy McMullen.

Explores how music relates to nostalgia, identity creation, repetition, memory, history, embodiment, and “liveness” in the postmodern era. Traces the ways race, gender, sexuality, and class are performed through music. Music examined ranges from classical and jazz to “world music” and pop. Artists/bands examined may include Thelonious Monk, Duke Ellington, Louis Armstrong, Genesis, Led Zeppelin, Beethoven, Palestrina, and their various tributes and revivals. Authors may include Baudrillard, Boym, Butler, DeNora, Freud, Gates, Goehr, hooks, Huyssen, Jameson, Sterne, and Taruskin. Primarily intended for juniors and seniors with experience in critical and cultural studies. Sophomores admitted with consent of instructor during the add/drop period. (Same as Gender and Women’s Studies 3202 {358}.)

3103 c. Gender, Sexuality, and Popular Music. Spring 2014. Tracy McMullen.

Employs gender as a theoretical tool to investigate the production, consumption, and representation of popular music in the United States and around the world. Examines how gender and racial codes have been used historically, for example to describe music as “authentic” (rap, rock) or “commercial” (pop, new wave), and at how these codes may have traveled, changed, or re-appeared in new guises over the decades. Considers how gender and sexuality are inscribed at every level of popular music as well as how music-makers and consumers have manipulated these representations to transgress normative codes and open up new spaces in popular culture for a range of sexual and gender expressions. Juniors and seniors only; sophomores admitted with consent of the instructor during the add/drop period. (Same as Gender and Women’s Studies 3103.)

3260 c. American Indian Powwow Culture. Spring 2014. Susan M. Taffe Reed.

Advanced seminar exploring the history and vibrant contemporary practice of American Indian powwow music and dance. Students study how Native people simultaneously maintain and reshape their musical traditions at powwows through reading current scholarly literature, participating in seminar discussion, and conducting an original research project. The course focuses on how ethnomusicological methods of inquiry shed light on the differences in song structure and dance style, as well as the differences between competition (contest) and traditional (non-contest) powwows, and how powwows influence contemporary American Indian identity.

Prerequisite: Any course in music or anthropology.

3356 {356} c. Copland and Shostakovich. Fall 2013. Mary Hunter.

Aaron Copland and Dmitri Shostakovich were near contemporaries; they both stood slightly to the side of modernist music as it grew out of the Second Viennese School, and music by both of them is taken to have national and political significance. Copland is an icon of the “American” values of freedom and openness, and Shostakovich is known chiefly for his complex relation to oppressive Soviet regimes. Examines the biographies of the two men, analyzes some of their most important works, and discusses their place in Modernist aesthetics.

Prerequisite: Music 1401 {101} or placement in Music 2402 or 2403, and another course in music, or permission of the instructor.

3501 {361} c. Topics in Music Theory: Orchestration. Every other year. Fall 2014. Vineet Shende.

An in-depth examination of factors to consider when writing for modern orchestral instruments. Students become familiar with all such instruments and arrange and transcribe works for ensembles such as string quartet, woodwind quartet, brass quintet, percussion ensemble, and full orchestra. Students also study scores by composers such as Brahms, Mahler, Ravel, Schoenberg, Stravinsky, and Takemitsu in order to further their knowledge of the techniques of instrumentation.

Prerequisite: Music 2401 {203} or 2501 {243}, or permission of the instructor.

4000–4003 {401–404} c. Advanced Independent Study in Music. The Department.

4029 {405} c. Advanced Collaborative Study in Music. The Department.

4040 {451} c. Senior Project in Music. Every spring. The Department.

All senior majors must take this course, which involves either a single semester of independent work or the second semester of an honors thesis. In addition to weekly individual meetings with a faculty advisor, students will meet as a group with the entire faculty several times during the semester. Must be taken in the spring of the senior year. Open only to senior music majors.

4050–4051 c. Honors Project in Music. The Department.

Performance Studies

Up to six credits of individual performance and ensemble courses together may be taken for graduation credit. Music courses numbered 3805–3807{385–387} count for academic credit and are thus not included in this limitation. Students may participate on a non-credit basis in lessons, some large ensembles, chamber ensembles, and jazz ensembles upon instructor or departmental approval only.

2805–2809 {285–289} c. Individual Performance Studies. Every semester.

Prerequisite: Permission of the music department.

The following provisions govern applied music lessons for credit:

1. Individual performance courses are intended for the continued study of instruments with which the student is already familiar. Students must take at least two consecutive semesters of study on the same instrument to receive one-half credit per semester and to receive the reduced rate. The first semester of study on the first instrument will be designated Music 2805 {285}. The second and all subsequent semesters of credit lessons on the same instrument will be designated Music 2806 {286}. The first semester of study on a different instrument will be designated Music 2807 {287}. The second and all subsequent semesters of study on that second instrument will be designated Music 2808 {288}. The number Music 2809 {289} is reserved for all semesters of study on a third instrument.

2. One-half credit is granted for each semester of study. Students are graded with regular letter grades. To receive credit, students must register for lessons at the beginning of each semester of study in the Office of the Registrar and the Department of Music. Note: Add/drop dates for lessons are earlier than add/drop dates for other courses. The deadline to add lessons is one week from the start of classes, and the deadline to drop lessons is two weeks from the start of classes.

3. Admission is by audition only. Only students who are intermediate or beyond in the development of their skills are admitted.

4. Beginning with the second semester of lessons, students must attend and perform in an end-of-semester public performance. Repertory classes, Lunchbreak Concerts, and other designated music department venues all count as public performances. Such performances must be registered with the department coordinator to count for credit.

5. To receive credit for Individual Performance Studies, the student must complete an academic course in music (which may include Music 3805 {385}) within the first year and a half of study, or by graduation, whichever comes first.

6. Students taking lessons for credit pay a fee of $520 for twelve one-hour lessons per semester. Junior and senior music majors and minors may take two half-credits free of charge.

7. Student Recitals. In most circumstances, a student is required to take Music 3805–3807 {385–387} (see below) in order to perform a solo recital. In some cases, however, a student may be allowed to perform a recital without taking Music 3805–3807 {385–387}, subject to permission of the instructor, availability of suitable times, and contingent upon a successful audition in the music department. The performance date and accompanist should be established the semester before the recital is to take place.

3805–3807 {385–387} c - VPA. Advanced Individual Performance Studies. Every semester.

Prerequisite: Music 2806 {286} and permission of the music department. The performance date and accompanist should be established the semester before the recital is to take place.

1. This option for private study is open only to students already advanced on their instruments. Students may take one or more semesters of this option. Music 3806 {386} may be repeated for credit. The first semester of study will be designated Music 3805 {385}. The second and all subsequent semesters of private lessons on the same instrument will be designated Music 3806 {386}. The number 3807 {387} is reserved for all semesters of study on a second instrument.

2. One credit is granted for each semester of study. Students are graded with regular letter grades. To receive credit, students must register for lessons at the beginning of each semester of study in the Office of the Registrar and the Department of Music. Note: Add/drop dates for lessons are earlier than add/drop dates for other courses. The deadline to add lessons is one week from the start of classes, and the deadline to drop lessons is two weeks from the start of classes.

3. Admission is by departmental audition only. Subsequent semesters of advanced lessons on the same instrument may require further auditions.

4. To receive credit for lessons, the student must perform a thirty- to forty-five-minute recital at the end of the semester. The student is expected to write program notes for this recital and other written work acceptable to the faculty advisor.

5. To receive credit, the student must have an advisor from the music department faculty, and be able to demonstrate to that faculty member that he or she understands the structure and/or context of the music, and will meet all deadlines. The letter grade will be determined jointly by the applied teacher and the faculty member after the recital.

6. Fees as with half-credit lessons.

Instructors for 2013–2014 include Julia Adams (viola), Christina Astrachan (voice), Naydene Bowder (piano and harpsichord), Christina Chute (cello), Ray Cornils (organ), Matt Fogg (jazz piano), Allen Graffam (trumpet), Steve Grover (percussion), Anita Jerosch (low brass), Timothy Johnson (voice), John Johnstone (classical guitar), David Joseph (bassoon), George Lopez (piano), Greg Loughman (electric bass), Kathleen McNerney (oboe), Kirsten Monke (viola), Joyce Moulton (piano), Taylor O’Donnell (pop/jazz voice), Gilbert Peltola (saxophone and clarinet), Karen Pierce (voice), Dean Stein (violin), Krysia Tripp (flute), Scott Vaillancourt (tuba), and Gary Wittner (jazz guitar).

Music Ensembles. Every semester.

The following provisions govern ensemble:

1. Most ensembles are auditioned. (No auditions required for Music 2769 {269}, 2775 {275}, and 2781 {281}.) May be repeated for credit; returning students need not normally re-audition.

2. One-half credit may be granted for each semester of study. To receive credit, the student must register for the course in the Office of the Registrar at the beginning of each semester.

3. Grading is Credit/D/Fail. Members of ensembles must attend rehearsals regularly and participate in all dress rehearsals and performances, or they will receive a grade of D or F for the course.

4. Ensembles meet regularly for a minimum of three hours weekly, inclusive of time without the ensemble director; ensemble directors establish appropriate attendance policies.

2769 {269} c. Middle Eastern Ensemble. The Department.

Meets once a week on Monday evenings, and performs pieces from the Arabic, Turkish, Armenian, and Greek traditions. Coached by oud player Amos Libby and percussionist Eric La Perna, the group does one performance per semester and often collaborates with the Bowdoin Belly Dance Club. No experience is required to join; students have the option of singing, learning new percussion instruments, or playing an instrument with which they are already familiar.

2771 {271} c. Chamber Choir. Fall 2013. Robert Greenlee. Spring 2014. The Department.

An auditioned group of about thirty-five student singers. Repertory ranges widely, from Renaissance music to American contemporary music and folk music of the world. The choir performs at festivals and society meetings in the United States (American Choral Directors Association and Society of Composers), and it tours abroad during some spring breaks. Recent trips have taken the ensemble to Germany, Ireland, England, Chile, Hungary, and Slovakia. Monday through Thursday late afternoons must be reserved, but the choir usually rehearses only three of those days.

2773 {273} c. Chorus. Anthony Antolini.

An ensemble of students, faculty, staff, and community singers. Entrance by audition. Group collaborates fall semester with other singers to form Rachmaninoff Choir. Participation in Rachmaninoff Choir is voluntary. Fall semester repertoire: “Black Nativity,” in Gospel style. Spring semester: music of Mendelssohn and Stravinsky. Rehearsals are Thursday and Sunday evenings.

2775 {275} c. Concert Band. John Morneau.

An ensemble open to all students with wind and percussion experience that performs several major concerts each year on campus, along with performances at campus events and ceremonies. Repertoire consists of a variety of literature, from the finest of the wind band repertoire to light classics, show tunes, and marches. Students have been featured as soloists and conductors, and student compositions have been premiered by the ensemble. Rehearsals are Tuesday and Thursday evenings.

2777 {277} c. Ensemble Performance. George Lopez.

Ensemble Performance is for instrumentalists who play orchestral instruments or piano and would like to play in chamber ensembles and the chamber orchestra. Participants (except pianists) must reserve Sunday evenings from 7:00 p.m. until 9:00 p.m., and chamber ensemble coachings will be scheduled on an individual basis.

All students must audition for ensemble performance. One-half credit per semester can be earned if one participates in both the orchestra and a chamber ensemble; with permission of the director, some students may be allowed to play in only one or the other ensemble on a non-credit basis.

2781 {281} c. Afro-Latin Music Ensemble. Michael Wingfield.

Performs the musical forms of black populations in Latin America and the Caribbean, with particular emphasis on the marimba and drumming traditions of Afro-Colombians. May also include Afro-Cuban, Afro-Peruvian, Afro-Puerto Rican, Afro-Dominican, and other musics. Students learn and perform multiple instruments, drumming, singing, and dance, culminating in a concert every semester. Occasional texts and audiovisual materials supplement musical learning by offering cultural and aesthetic contextualization.

2783 {283} c. Jazz Ensembles. Frank Mauceri.

Groups of four to six students, formed by audition, and performing both modern and classic standards, plus some original compositions by students and faculty. They perform one concert a semester on campus and appear occasionally in other venues. Rehearsals are arranged to suit the players’ and coach’s schedules.

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