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Music

Spring 2007 Courses

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111. Rhythm!
Robert Greenlee M 10:30 - 11:25, W 10:30 - 11:25, F 10:30 - 11:25 Gibson-101
Hearing, notating, analyzing, and performing rhythms of various traditions across the world—such as the rhythmic polyphony of Ghana, the cyclic talas of Hindustani India, or the rumbas of Cuba—in order to study rhythmic organization, transmission, and performance. Labs include rhythmic dictation and practice on African percussion.
115. Bodywork for Performers
Craig Williamson F 8:30 - 11:25 Sargent-Dance Studio
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. The goal is to increase awareness of habitual patterns of use, deepening understanding of posture, movement, breathing, speaking and singing, and to develop the quality of presence in performance. Actors, dancers, musicians and movers of all kinds will increase the range and depth of kinesthetic, spatial, and dynamic awareness for enhanced vocal and physical expression.
126. Passions and Damnation
James McCalla T 10:00 - 11:25, TH 10:00 - 11:25 Gibson-101
One of the traditions of Western classical music is the exploration of existential questions, as well as the emotional and aesthetic ones more commonly associated with it. Considers issues of sacred and profane love, the propensity to war, and a kind of naturism derived in the West from Chinese philosophy and poetry. Works include the St. Matthew Passion of J.S. Bach, Benjamin Britten's War Requiem, and Gustav Mahler's symphony with voices Das Lied von der Erde (The Song of the Earth).
131. Thinking and Writing about Music (formerly known as Musical Methodologies)
Mary Hunter M 11:30 - 12:25, W 11:30 - 12:25, F 11:30 - 12:25 Gibson-101
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.Music 134c - VPA. Heirs and Rebels: Music in the Twentieth Century. Fall 2006. Elliott Schwartz.A survey of music since 1890, beginning at the turn of the century (Mahler, Debussy) and continuing to the present day. Changes in esthetics, technology, social contexts and musical materials, with reference to impressionism, the twelve-tone school, neoclassicism, developments in electronic, multimedia and “chance” techniques, and the most recent collage and minimalist approaches. Special attention given to Ives, Stravinsky, Cage, and the influence of non-Western music.
137. Music of Brazil
Dan Sharp M 1:00 - 2:25, W 1:00 - 2:25 Gibson-101
An introduction to the musics of Brazil that examines musical practice as a kind of cultural behavior. Students learn about the traditional roots of current modern popular styles and explore the role of music in a society divided along lines of class, race and gender. Special emphasis is given to Afro-Brazilian musical genres.
203. Tonal Analysis
Mary Hunter M 2:30 - 3:55, W 2:30 - 3:55 Gibson-206
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.
242. Music of the African Diaspora in Latin America
Dan Sharp T 8:30 - 9:55, TH 8:30 - 9:55 Gibson-101
A survey of the musical practices of members of the African Diaspora living in Latin America. Focuses on specific case studies, such as Afro-Peruvian, Afro-Cuban, and Afro-Colombian musical communities, as well as themes relevant throughout the region, such as histories of social exclusion, legacies of slavery, and ideologies of cultural and racial mixture. The details of musical styles will be studied in conjunction with their cultural contexts.
243. Introduction to Composition
William Matthews T 1:00 - 2:25, TH 1:00 - 2:25 Gibson-101
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 Gibson-101

273. Chorus
Anthony Antolini TH 7:00 - 9:00, SU 7:00 - 9:30 Gibson-101

275. Concert Band
John Morneau T 6:30 - 8:30, TH 6:30 - 8:30 Gibson-10

279. Chamber Ensembles
The Department Gibson-206

281. World Music Ensemble
Dan Sharp W 6:00 - 8:55 Gibson-101

283. Jazz Ensembles
Frank Mauceri Gibson-10

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: Béla Bartók
James McCalla T 2:30 - 3:55, TH 2:30 - 3:55 Gibson-206
Bartók was both a major composer in the mainstream of twentieth-century modernism and neoclassicism, and a pioneering ethnomusicologist who collected and studied the folk musics of central and eastern Europe. Examines both these careers, looking at his work in the context of his era and at the impact of both folk and classical music, past and contemporary, on his compositional styles.
385. ADV INDIVIDUAL PERFORMANCE STUDIES
The Department

386. ADV INDIVIDUAL PERFORMANCE STUDIES
The Department

387. ADV INDIVIDUAL PERFORMANCE STUDIES
The Department

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