Courses

Courses

Spring 2008 Courses

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105. Introduction to Audio Recording Techniques
Christopher Watkinson T 8:30 - 9:55, TH 8:30 - 9:55
This course will explore the history of audio recording technology, aesthetic function of recording technique, modern applications of multi-track recording and digital editing of sound created and captured in the acoustic arena. Topics will include the physics of sound, microphone form and function, audio mixing board topology, dynamic and modulation processors, studio design and construction, principles of analog to digital (ADA) conversion, and artistic choice as an audio engineer. One-half credit.

113. African Dance and Music
Jordan Benissan M 4:00 - 5:25, W 4:00 - 5:25
A studio course introducing integral and defining aspects of African cultures: dance, music and song. Includes dance from the Ewe tradition (Togo/Ghana); Ashanti (Ghana); Ga (Ghana); and Yoruba (Nigeria). Hands on experience with musical improvisations -- drumming, rattles, bells -- and singing. Films and recordings trace the dances' origins and histories. Culminates in a class performance.

114. Contemporary Choral Music: Artistry and Style
Shannon Chase M 10:30 - 11:25, W 10:30 - 11:25, F 10:30 - 11:25
Exploration of choral artistry through study of an eclectic contemporary repertoire including works in modernist, aleatoric, and multicultural-folk styles, by such composers as Leonard Bernstein, Murray Schaeffer, Benjamin Britten, Percy Grainger, Arvo Pärt, Chen Yi, Ellen Taafe Zwilich, Eric Whitacre and more. Study of music scores with emphasis on analysis, interpretation, and introductory conducting techniques. Requires ability to read treble and bass clefs, and music ensemble performance experience (band, choir, or orchestra).

115. Bodywork for Performers
None None F 8:30 - 11:25
In a studio environment, applies principles of somatic awareness drawn from the insights and techniques of Mabel Ellsworth Todd, FM Alexander, Moshe Feldenkrais and others, with the goal of increasing awareness of habitual patterns of use; deepening understanding of posture, movement, breathing, speaking and singing; and developing the quality of presence in performance. Helps actors, dancers, musicians, and movers of all kinds increase the range and depth of kinesthetic, spatial, and dynamic awareness for enhanced vocal and physical expression. Grading is Credit/D/Fail. One-half credit

131. Thinking and Writing about Music
Mary Hunter M 2:30 - 3:55, W 2:30 - 3:55
Highly recommended for those considering majoring in music. An introduction to the academic study of music and the types of questions confronting music scholars today. Why do humans make music? In what ways are ideas communicated with musical sounds? How do musical preferences develop? How can we understand musical practices from different cultural and historical contexts? Introduces students to the disciplinary goals and methods of the numerous subfields of music scholarship, as well as the ways in which music scholarship contributes to a variety of interdisciplinary approaches and life outside of academia.

139. Music of South Asia
Vineet Shende T 11:30 - 12:55, TH 11:30 - 12:55
A survey of the musical traditions of the Indian Subcontinent, with particular emphasis on the genres of North Indian (Hindustani) Classical, South Indian (Karnatak) Classical, and “Bollywood” film music. While historical and cultural factors are studied, focus is on musical construction concepts and processes.

203. Tonal Analysis
James McCalla T 10:00 - 11:25, TH 10:00 - 11:25
Through a survey of music from Bach to Beethoven, the student learns to recognize the basic processes and forms of tonal music, to read a score fluently, and to identify chords and modulations. Knowledge of scales and key signatures, as well as ability to read bass clef, are required.

210. Topics in Jazz History: Louis, Dizzy, and Miles
James McCalla T 1:00 - 2:25, TH 1:00 - 2:25
Three great trumpet players, three different styles,three very different conceptions of what jazz is. The class will listen to recordings from the 1920s to the 1990s, concentrating especially on the years 1945-1971 when all three men were active simultaneously. Extensive readings from biographies, autobiographies and other critical literature.

211. Theory and Method in Ethnomusicology
Joanna Bosse M 11:30 - 12:55, W 11:30 - 12:55
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.

232. Native North American Music and Dance
Christopher Scales M 1:00 - 2:25, W 1:00 - 2:25
For many Native North American groups, music and dance are central aspects of cultural life, playing an important role in religious ceremony, sacred and secular ritual events, artistic expression, and popular entertainment. Examines a number of the various musical traditions in Native North America, with particular attention paid to contemporary coastal communities of the Northeastern United States. Students study both historical and contemporary written texts and recorded performances and engage in a class fieldwork project documenting the musical activities of contemporary musicians. Topics of study include the relationship between music and other facets of social life, including work, religion, family, politics, and other artistic performance traditions (dance, theatre, film), as well as the use of music in demarcating tribal, regional, and intertribal identity.

243. Introduction to Composition
Vineet Shende T 2:30 - 3:55, TH 2:30 - 3:55
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.

269. Middle Eastern Ensemble
Mary Hunter M 8:00 - 9:25

271. Chamber Choir
Shannon Chase M 4:15 - 5:35, T 4:15 - 5:35, W 4:15 - 5:35, TH 4:15 - 5:35

273. Chorus
Anthony Antolini TH 7:00 - 8:55, SU 7:00 - 9:25

275. Concert Band
John Morneau T 6:30 - 8:25, TH 6:30 - 8:25

279. Chamber Ensembles
Roland Vazquez

281. World Music Ensemble: Mbira Music of Zimbabwe
Joanna Bosse M 2:30 - 3:25, W 2:30 - 3:25, F 2:30 - 3:25

283. Jazz Ensembles
Frank Mauceri

285. Individual Performance Studies
The Department

286. Individual Performance Studies
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287. Individual Performance Studies
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288. Individual Performance Studies
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289. Individual Performance Studies
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385. Advanced Individual Performance Studies
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386. Advanced Individual Performance Studies
The Department

387. Advanced Individual Performance Studies
The Department