Location: Bowdoin / Music / courses / Spring 2009

Music

Spring 2009

061. Fundamentals of Music
Shannon Chase M 10:30 - 11:25, W 10:30 - 11:25, F 10:30 - 11:25
For the entry-level student, this course 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.

105. Introduction to Audio Recording Techniques
Christopher Watkinson M 9:30 - 10:25, W 9:30 - 10:25, F 9:30 - 10:25
Explores the history of audio recording technology, aesthetic function of recording technique, modern applications of multitrack 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.

131. Thinking and Writing about Music
Mary Hunter M 1:00 - 2:25, W 1:00 - 2:25
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.

132. The Beethoven Symphonies
James McCalla T 11:30 - 12:55, TH 11:30 - 12:55
A chronological study of the nine symphonies as examples of Beethoven’s compositional styles, of the classical style in general, and as a musical expression of the Enlightenment world view. Emphasis is placed on the formal structure of the works, the progressive development of Beethoven’s musical thinking, and the changing musical world around him.

203. Tonal Analysis
Mary Hunter T 8:30 - 9:55, TH 8:30 - 9:55
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.

212. Topics in Jazz History: Charles Mingus and Nina Simone
James McCalla T 2:30 - 3:55, TH 2:30 - 3:55
The careers of composer/leader/bassist Charles Mingus (1922-1979) and singer/pianist Nina Simone (1933-2003) reflected similar concerns – the multifarious varieties of black music, the use of black musics as statements of racial pride, the openness toward many musical genres in their own work, the constant explorations, and not least the intense involvement in civil rights and their own explosive temperaments. At the same time, these two major artists were very different in their individual styles and in their life experiences. This course will study the output of both Mingus and Simone in their relationship to jazz history and other musical genres, and in the context of the social movements of their time. Biographical and autobiographical readings as well as some secondary literature will complement the critical musical analysis.

221. Improvisation
Frank Mauceri M 11:30 - 12:55, W 11:30 - 12:55
Do we understand improvised and composed music differently, and if so how? This course investigates musical syntax in improvised settings and its consequences for the organization of time in music. We also consider 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.

243. Introduction to Composition
Vineet Shende M 2:30 - 3:55, W 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.

252. Intermediate Topics in Ethnomusicology: Music, Religion, and Spirituality
Anthony Perman M 11:30 - 12:55, W 11:30 - 12:55
Explores the role music plays in several religious and spiritual contexts around the world. Explores the relationship between music and a range of epistemological systems incorporating religion, spirituality, philosophy, mythology, and cosmology. Aims to understand how music works in ritual settings, enacts normative social orders, and triggers altered states of being such as trance, spirit possession, and spiritual ecstasy.

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
Anthony Perman W 6:30 - 9:25

283. Jazz Ensembles
Frank Mauceri

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

385. Advanced Individual Performance Studies
The Department

386. Advanced Individual Performance Studies
The Department

387. Advanced Individual Performance Studies
The Department

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