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The College Catalogue

Music – Courses

First-Year Seminars

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

1011 c. Holy Songs in a Strange Land. Spring 2015. Judith Casselberry. (Same as Africana Studies 1019.)

1015 c. Women and the Blues. Fall 2014. Susan M. Taffe Reed. (Same as Africana Studies 1015 and Gender and Women’s Studies 1030.)

Introductory, Intermediate, and Advanced Courses

1051 {61} c - VPA. Fundamentals of Music. Every semester. Fall 2014. Mary Hunter. Spring 2015. Robby Greenlee.

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.

1101 {131} c. Sound, Self, and Society: Music and Everyday Life. Every fall. Fall 2014. 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.]

1260 {141} c - ESD, VPA. American Indian Musical Traditions in Eastern North America. Spring 2015. 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. Fall 2014. Michael Birenbaum Quintero.

Surveys the musical styles of Latinos in the United States. Discusses the role of these styles in articulating race, class, gender, and sexual identities for US Latinos, their circulation along migration routes, their role in identity politics and ethnic marketing, their commercial crossover to Anglo audiences, and Latina/o contributions to jazz, funk, doo-wop, disco, and hip-hop. Case studies may include Mexican-American/Chicano, Puerto Rican/Nuyorican, and Cuban-American styles; Latin music in golden age Hollywood; Latin dance crazes from mambo to the Macarena; rock en español; the early 2000s boom of Latin artists like Shakira, Enrique Iglesias, and Jennifer Lopez; reggaetón, race politics, and the creation of the “Hurban” market; and the transnational Latin music industries of Los Angeles, New York, and Miami. (Same as Latin American Studies 1337 {137}.)

1281 {121} c - VPA. History of Jazz I. Spring 2017. Tracy McMullen.

A socio-cultural, historical, and analytical introduction to jazz music from the turn of the twentieth century to around 1950. Includes some concert attendance. (Same as Africana Studies 1581 {121}.)

1292 {140} c - ESD, VPA. History of Hip-Hop. Spring 2015. Tracy McMullen.

Traces the history of hip-hop culture (with a focus on rap music) from its beginnings in the Caribbean through its transformation into a global phenomenon. Explores constructions of race, gender, class, and sexuality in hip-hop’s production, promotion, and consumption, as well as the ways in which changing media technology and corporate consolidation influenced the music. Artists/bands investigated will include Grandmaster Flash, Public Enemy, MC Lyte, Lil’ Kim, Snoop Dog, Eminem, Nicki Minaj, and DJ Spooky. (Same as Africana Studies 1592 {159} and Gender and Women’s Studies 1592 {140}.)

1301 {102} c - VPA. Introduction to Classical Music. Fall 2015. 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. Spring 2015. Mary Hunter.

Opera has the reputation of being a ridiculous and unnatural entertainment for the elite. There’s something to that; but for the 400 years of its existence opera has also had audiences from many walks of life who have been essentially addicted to its pleasures. In addition, it is a genre that chronicles the preoccupations and anxieties of the places and times in which it is written and produced. We think about what opera is and where it fits in society; we examine a number of representative works and excerpts; and we think about how phenomena like the Metropolitan Opera’s HD broadcast affect opera’s place in society.

1401 {101} c - VPA. Introduction to Music Theory. Every year. Fall 2014. Vineet Shende.

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 2015. 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 create their own mix of music recorded during class time.

1501 {164} c - VPA. A Cappella. Spring 2016. Robert Greenlee.

A study of arranging and rehearsing a cappella music in recent styles, focusing on folk song arrangements, pop music in the collegiate a cappella tradition, and spirituals. Techniques of arranging include the use of chords, spacing and voice leading, textures, vocables, and adaptation of instrumental accompaniments to choral music. Also covered are conducting and vocal techniques; students expected to sing.

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.

2281 c. History of Jazz II. Fall 2014. Tracy McMullen.

Provides a socio-cultural, historical, and analytical introduction to jazz music from around 1950 to the present. Addresses the history of jazz in terms of changes in musical techniques and social values and approaches music as a site of celebration and struggle over relationships and ideals. Builds ability to hear differences among performances and styles. Enriches knowledge of US history as it affects and is affected by musical activities and studies the stakes and motives behind the controversies and debates that have often surrounded various styles of African American music. (Same as Africana Studies 2281.)

Prerequisite: Music 1281 {121} (same as Africana Studies 1581 {121}.)

[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, Meshell 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.]

2293 {251} c - VPA. Rebel Yell: Punk Music inside and outside the Mainstream. Spring 2015. 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.

2303 c. Gender, Sexuality, and Race in Classical Music. Spring 2015. Mary Hunter.

Both Romanticism and Modernism, in different ways, have encouraged the idea that “classical music” transcends the particularities of gender, race, and sexuality, and that it exists in a “pure” realm, largely unmediated by the social circumstances of composers, performers, and listeners. This idea has been thoroughly questioned in the past several decades. Addresses topics such as why female composers are so poorly represented in the canonic repertory, whether a composer’s sexuality makes a difference to his or her music or to the way we listen to it, and the places of African Americans and Asians in classical music culture.

Prerequisite: one course in music.

2401 {203} c - VPA. Tonal Analysis. Spring 2016. Mary Hunter.

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

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

2403 {202} c - VPA. Songwriting and Song Analysis. Every fall. Fall 2014. 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 largely chosen by students, but also includes 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 2015. 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 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}, 2401 {203}, 2402 {202}, or 2403 {202}; or permission of the instructor.

2551 {218} c - VPA. Introduction to Electronic Music. Every fall. Fall 2014. 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}, or permission of the instructor.

2601 {258} c - VPA. Classical Music and Performance. Spring 2016. 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. Spring 2015. Frank Mauceri.

Do we understand improvised and composed music differently, and if so how? Investigates musical syntax in improvised settings and its consequences for the organization of time in music. Also considers the social functions and meanings of improvisation. Analysis draws from recordings, interviews, and writings in ethnomusicology, semiotics, and music theory. At the same time, students participate in regular improvisation workshops exploring vernacular musics, avant-garde open forms, and interactive electronics.

Prerequisite: Music 2402 or 2403{151}, or permission of the instructor.

2603 c - VPA. Art of Singing. Fall 2014. Robert Greenlee.

A study of singing traditions, emphasizing American popular music and classical music. Topics comprise vocal color and production, the influence of language on singing, performing practices, improvisation, and aesthetic response. Projects include performances and analyses of recorded music.

Prerequisite: previous or concurrent enrollment in one of the following: Music 1401{101}, 1501 {164}, 2402 {202}, 2403 {202}, or 2771 {271}.

3101 {357} c. Sound Travels: From Mozart to MP3. Fall 2014. Michael Birenbaum Quintero.

Traces histories of the political economy of music. Examines the politics, economics, ethics, and senses of belonging that accompany global and transcultural networks of musical exchange along paths of conquest, commerce, religion, and technological change. Case studies may include Orientalist operas, colonial African and Asian brass bands, music and pilgrimage, African music in seventeenth-century Portugal, Scottish music in Meiji Japan, karaoke in the Vietnamese diaspora, music in Second Life, crooners and the massification of intimacy, the ethics of world music sampling, questions of agency and homogenization in the culture industry, the economics of file sharing, and sound as property in copyright law, from the player piano to the Wacky Quacker soundmark case.

Prerequisite: Previous credit or concurrent registration in Music 2101 {211}.

[3103 c. Gender, Sexuality, and Popular Music. (Same as Gender and Women’s Studies 3103.)]

3501 {361} c. Orchestration. Every other year. Spring 2015. Vineet Shende.

An in-depth examination of acoustical, technical, and musical factors to consider when writing for modern orchestral instruments. In addition to readings, exercises, in-class instrument demonstrations, score study, and listening, students orchestrate four main projects: a string quartet, a woodwind quintet, and a work for full orchestra, all of which are performed.

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

3551 {315} c - VPA. Computer Music Composition and Sound Synthesis. Every other year. Spring 2015. Frank Mauceri.

Covers advanced topics in computer music. Focuses on algorithmic composition and sound synthesis. Discusses the significance of these techniques with reference to information theory, cybernetics, and cultural critiques of media technology. Students design projects in computer-assisted composition, video sound tracks, and live (real time) media applications.

Prerequisite: Music 2551 {218}, or permission of the instructor.

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

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

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 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 is designated Music 2805 {285}. The second and all subsequent semesters of credit lessons on the same instrument is designated Music 2806 {286}. The first semester of study on a different instrument is designated Music 2807 {287}. The second and all subsequent semesters of study on that second instrument is 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 $540 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 is designated Music 3805 {385}. The second and all subsequent semesters of private lessons on the same instrument are 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 meet all deadlines. The letter grade is determined jointly by the applied teacher and the faculty member after the recital.

6. Fees as with half-credit lessons.

Instructors for 2014-15 include Christina Astrachan (voice), Naydene Bowder (piano and harpsichord), Christina Chute (cello), Ray Cornils (organ), Matt Fogg (jazz piano), Steve Grover (percussion), Anita Jerosch (low brass), Timothy Johnson (voice), John Johnstone (classical guitar), David Joseph (bassoon), George Lopez (piano), Frank Mauceri (jazz sax), Kathleen McNerney (oboe), Kirsten Monke (viola), Joyce Moulton (piano), Taylor O’Donnell (pop/jazz voice), Gilbert Peltola (clarinet), Karen Pierce (voice), Dean Stein (violin), Mark Tipton (trumpet), Krysia Tripp (flute), Scott Vaillancourt (tuba), Yasmin Vitalius (violin), and Gary Wittner (jazz guitar).

Music Ensembles. Every semester.

The following provisions govern ensembles:

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 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. Eric LaPerna and Amos Libby.

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 performs one concert per semester. 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. Robert Greenlee.

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. Fall 2014. Emily Isaacson. Spring 2015. Anthony Antolini.

An auditioned ensemble of students, faculty, staff, and community singers. At least one of the semesters features a large-scale work for chorus and orchestra. Recent tours have included all the major cities of New England, Serbia, Bulgaria, and Greece. Rehearsals are Thursday and Sunday evenings. Sight reading ability is desired but not required.

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 are 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 Birenbaum Quintero.

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. Rehearsals are Monday and Wednesday evenings.

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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