Courses

Courses

Spring 2005 Courses

  • Visit Bearings to search for courses by title, instructor, department, and more.
  • Login to Blackboard. Instructional materials are available on a course-by-course basis.
131. Musical Methodologies
Mary Hunter M 11:30 - 12:55, W 11:30 - 12:55
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.
135. The Operas of Verdi
James McCalla T 1:00 - 2:25, TH 1:00 - 2:25
Study of a number of music theater works by Giuseppe Verdi (1813-1901), the lion of nineteenth-century Italian music whose operas are still at the heart of today�s repertory. Works may include Luisa Miller, Macbeth, La Traviata, Don Carlo, Otello, and Falstaff.
203. Tonal Analysis
Vineet Shende 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.
223. He Loved Us Madly: The Music and Life of Duke Ellington (1899-1974)
James McCalla M 1:00 - 2:25, W 1:00 - 2:25
A detailed study of the life and work of one of America�s greatest composers and musicians in the context of twentieth-century music and contemporary social history. Ellington disliked the term �jazz� and preferred (among other labels) �African American music.� Examines his works� antecedents, its stylistic elements, its cultural work within United States society from the Harlem Renaissance through the Civil Rights era, and its presentation by the government as a symbol of the United States overseas. Also considers Ellington�s almost thirty-year collaboration with Billy Strayhorn (1915-1967); the extraordinary range of his band�s and small groups� work from secular Hollywood films to the late Concerts of Sacred Music; and his projects with such guest artists as John Coltrane, Ella Fitzgerald, Charles Mingus, and others.
239. Interpreting Song
Robert Greenlee M 10:30 - 11:25, W 10:30 - 11:25, F 10:30 - 11:25
Through listening, performance, analysis, and historical treatises, differing perspectives on song repertoire are examined. Students learn to use the techniques required to communicate these perspectives in their own performances, and to understand one�s role in creating a new interpretation. Focus on the Western canon, but popular, ethnic, and folk styles are also considered. All students are expected to perform in a group recital of songs at the end of the semester.
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.
271. Chamber Choir
Robert Greenlee 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 - 9:00, SU 7:00 - 9:30

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

279. Chamber Ensembles
The Department

281. World Music Ensemble
Michael Wingfield W 6:00 - 9:00

LAB

283. Jazz Ensembles
Stephen Grover

285. Individual Performance Studies
The Department

286. Individual Performance Studies
The Department

287. Individual Performance Studies
The Department

288. Individual Performance Studies
The Department

289. Individual Performance Studies
The Department

351. Topics in Music History: Composers, Performers, Listeners
Mary Hunter T 11:30 - 12:55, TH 11:30 - 12:55
In most kinds of music in Western culture, composing, performing and listening have been the three activities thought essential to music making. However, the relations between these three activities have not remained the same through history, or in different repertories. Sometimes they have been embodied in three different people: composer, performer, and audience member; sometimes they have overlapped: improvising performers are also composers, and in some highly interactive traditions the audience directly affects the processes of performance and composition. This course examines a variety of kinds of music and writing about it from the Middle Ages to Motown, to see how composing, performing, and listening have been configured, and why. Prerequisite: Music 303 or permission of the instructor.
385. Advanced Individual Performance Studies
The Department

386. Advanced Individual Performance Studies
The Department

387. Advanced Individual Performance Studies
The Department

Previous Semesters Courses