Spring 2013 Courses

  • Please note that for the 2013-14 academic year, official course numbers are now four digits. This page only shows the older three-digit course numbers. If you need to see both the old and the new numbers, consult the College Catalogue.
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061. Fundamentals of Music
Anthony Antolini T 10:00 - 11:25, TH 10:00 - 11:25 Gibson-101 Tillotson Room
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.
103. Introduction to Opera
Mary Hunter T 2:30 - 3:55, TH 2:30 - 3:55 Gibson-101 Tillotson Room
Opera has the reputation of being a ridiculous and unnatural entertainment for the elite. There’s something to that; but for the four hundred 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. Considers what opera is and where it fits in society; examines a number of representative works and excerpts; and discusses how phenomena like the Met HD broadcast affect opera’s place in society.
105. Introduction to Audio Recording Techniques
Christopher Watkinson T 11:30 - 12:55, TH 11:30 - 12:55 Studzinski-202
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 will create their own mix of music recorded during class time.
137. CuBop, Up-Rock, Boogaloo, and Banda: Latinos Making Music in the United States
Michael Quintero M 11:30 - 12:55, W 11:30 - 12:55 Gibson-101 Tillotson Room
Surveys the musical styles of Latinos in the United States. Discusses the role of these musics in articulating race, class, gender, and sexual identities for U.S. Latinos, their circulation along migration routes, their role in identity politics and ethnic marketing, their commercial crossover to Anglo audiences, and Latin/o contributions to jazz, funk, doo-wop, disco, and hip-hop. Case studies may include Mexican-American/Chicano, Puerto Rican/Nuyorican, and Cuban-American musics; 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.
164. A cappella
Robert Greenlee T 1:00 - 2:25, TH 1:00 - 2:25 Gibson-101 Tillotson Room
A study of currently popular a cappella music, including folk song arrangements, pop music in the collegiate a cappella tradition, works by American composers such as Whitacre and Lauridsen, spirituals, and Zulu Iscathamiya (such as Ladysmith Black Mambazo). Possible projects include arranging, rehearsing an ensemble, and analyzing repertoire and performance styles. Vocal techniques will be discussed, and students will be expected to sing.
211. Introduction to Ethnomusicology
Michael Quintero M 2:30 - 3:55, W 2:30 - 3:55 Gibson-206
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.
218. Introduction to Electronic Music
Frank Mauceri T 1:00 - 2:25, TH 1:00 - 2:25 Gibson-6 Electronic Studio
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.
243. Introduction to Composition
William Matthews T 10:00 - 11:25, TH 10:00 - 11:25 Gibson-206
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.
258. Classical Music and Performance
Mary Hunter M 1:00 - 2:25, W 1:00 - 2:25 Gibson-206
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.
269. Middle Eastern Ensemble
Robert Greenlee M 6:30 - 8:25 Studzinski-202
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 does one performance per semester and often collaborates with the Bowdoin Belly Dance Club. 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.
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 Tillotson Room
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 U.S. (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.
273. Chorus
Anthony Antolini TH 7:00 - 8:55, SU 7:00 - 9:25 Gibson-101 Tillotson Room
A choral ensemble composed of students, faculty, staff, and community members. Entrance is by audition. This ensemble has performed at the regional convention of the American Choral Directors Association in Baltimore. The chorus has toured throughout New England, New York, Washington, D.C., and Montreal. In summer 2008, the Chorus traveled to Greece. Recent performances have included Rachmaninoff’s Liturgy of St. John Chrysostom, Mozart’s Solemn Vespers, Jenkins’ Requiem, and Vaughan Williams’ Dona nobis pacem. Rehearsals are Thursday and Sunday evenings.
275. Concert Band
John Morneau T 6:30 - 8:25, TH 6:30 - 8:25 Studzinski-100
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.
277. Ensemble Performance
George Lopez SU 7:00 - 8:25 Studzinski-100
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 8:30 p.m., and chamber ensemble rehearsals and coachings will be 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.
281. Afro-Latin Music Ensemble
Michael Quintero M 6:30 - 7:55, W 6:30 - 7:55 Gibson-101 Tillotson Room
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 include 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.
283. Jazz Ensembles
Frank Mauceri Gibson-10
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.
285. Individual Performance Studies
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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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358. Music, Memory, and Identity
Tracy McMullen T 11:30 - 12:55, TH 11:30 - 12:55 Gibson-206
Explores how music relates to nostalgia, identity creation, repetition, memory, history, embodiment and “liveness” in the postmodern era. Traces the ways race, gender, sexuality, and class are performed through music. Music examined ranges from classical and jazz to “world music” and pop. Artists/bands examined may include Thelonious Monk, Duke Ellington, Louis Armstrong, Genesis, Led Zeppelin, Beethoven, Palestrina, and their various tributes and revivals. Authors may include Baudrillard, Boym, Butler, DeNora, Freud, Gates, Goehr, hooks, Huyssen, Jameson, Sterne, and Taruskin. Primarily intended for juniors and seniors with experience in critical and cultural studies. Sophomores admitted with consent of instructor.
385. Advanced Individual Performance Studies
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386. Advanced Individual Performance Studies
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387. Advanced Individual Performance Studies
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