Courses in the Department of Music
Prospective students may visit classes marked with (†). Students are asked to speak with the instructor before class. In most cases, instructors prefer that only students come into the class, and that they remain for the duration of the class.
New courses and/or visiting faculty this semester!
Grad student Aleysia Whitmore will be teaching new course MUSC0043 Music of Africa.
Grad student Peter Bussigel will be teaching new course MUSC0211 Systems for Play
Visiting Professor John Ferguson will be teaching new course
MUSC 1240G Topics in New Media Theory and Production:
Post-vernacular Composition/‘Pop Music’ gone Feral
MEME PhD graduate Shawn Greenlee will be teaching MUSC1240E Experimental Data Representation. Interested students should register for MCM 1700U S01
Mohsen Namjoo will be teaching new course MUSC1936 Tradition and Protest: Persian and Iranian Music[interested students should register for MES 1000]
MUSC0043 Music of Africa
How do Senegalese rappers mix traditional and African American musical meanings and traditions? How did drumming and dancing traditions become emblematic of the African continent abroad? How did South African musicians challenge apartheid? This course explores the diversity of popular and traditional musics on the African continent. Approaching music as inextricably linked to culture, students will explore how musics live in communities and interact with issues such as globalization, race, and nationalism. Framing their study within the fields of ethnomusicology, cultural anthropology, cultural studies, and history, students develop practical and theoretical bases for the study of music and culture.
T,Th 9:00-10:20 a.m. (A. Whitmore) Orwig 109
MUSC 0052 Beethoven
A study of Beethoven’s life and music.
T,Th 10:30-11:50 a.m. (D. Josephson) Orwig 315
MUSC 0075 Jazz and American Culture
Explores jazz in relation to American history, discussing how economics, war conditions, regional differences and race relations shaped the music an its public reception. With readings from A. Baraka, L. Levine, R. Ellison, L. Erenberg, E. Lott, G. Early, S. DeVeaux and others, we address how jazz embodies social and political values or expresses national character. Open to non-musicians. Music proficiency preferred but not required. Enrollment limited to 60.
M,W,F 11:00-11:50 a.m. (D. Gooley) Orwig 315
MUSC 0210E Topics in Electronic Music and Multimedia: Systems for Play
Complex patterns emerge while playing with simple processes. This course focuses on systems as creative constraints and sites for composing sound and other materials. Amplifying, multiplying, delaying, cutting, folding, growing and randomizing become lenses for animating our practices and playgrounds for exploring tendencies (our own, the materials’, the systems’). Assignments are project-based and informed by short readings. There are no prerequisites and enrollment is limited to 18.
Tues 4:00-6:20 p.m. (P. Bussigel) Granoff N430
MUSC 0400 Introduction to Music Theory
An introduction to musical terms, elements, and techniques, including notation, intervals, scales and modes, triads and seventh chords, modulation, melody writing and harmonization, analysis, and composition. Ear-training and sight-singing are included. For students with some musical training. Enrollment limited to 40.
M,W,F 10:00-10:50 a.m. (E. Kurtz/K. Haughey) Orwig 315
MUSC 0560 Theory of Tonal Music
MUSC0550 is a prerequisite to MUSC0560. Enrollment limited. Written permission required. LL
T,Th (S01) 1:00-2:20 p.m. (M. Steinbach) Orwig 315
T,Th (S02) 1:00-2:20 p.m. (A. Aziz) Steinert 105
M,W,F (Lab) 9:00-9:50 a.m. (A. Cole) Orwig 315
M,W (Lab) 12:00-12:50 p.m. (A. Cole) Orwig 315
F (Lab) 12:00-12:50 p.m. (A. Cole) Steinert 105
MUSC 0920 Baroque and Classic Music
A history of music in European society from Monteverdi's opera Orfeo to Beethoven's Ninth, studied through texts, scores, CDs, DVDs, and YouTube. We'll spend two-thirds of our time on five composers: Bach, Handel, Haydn, Mozart, and Beethoven. Prerequisite: MUSC0550 or equivalent.
T/Th 2:30-3:50 p.m. (D. Josephson) Orwig 109
MUSC 1011 Advanced Musicianship II
Continuation of MUSC1010. Prerequisite: MUSC1010 or permission of the instructor. Written permission required.
M,W,F 2:00-2:50 p.m. (A. Cole) Orwig 315
MUSC1040 Advanced Music Theory I
A study of chromaticism and advanced tonal techniques, with a focus on 19th-century European art music. Assignments will include exercises in analysis and composition and in-class presentations. Prerequisite: MUSC 0560.
M,W,F 1:00-1:50 p.m. (A. Aziz) Orwig 315
MUSC 1110 Seminar in Composition
Finding a personal voice as a composer. Assignments develop familiarity with large forms and increasingly complex structures. Analyses of contemporary compositions elucidate issues of aesthetic and political stance inherent in compositional activity and teach technical facility and range of expression. Problems of rehearsal and performance for new music are considered. Prerequisite: MUSC 0560 and 1100, or permission of the instructor. Enrollment limited to 20 students.
Wed. 3:00-5:20 p.m. (G. Shapiro) Orwig 112
MUSC 1120 Technique of Orchestration
Introduction to standard instrumentation; exercises in basic principles; analysis of styles of scoring. Prerequisite: MUSC 0560 or permission of instructor.
T,Th 1:00-2:20 p.m. (G. Shapiro) Orwig 112
MUSC 1200 Seminar in Electronic Music: The Recording Studio as Compositional Tool
A study of advanced studio techniques taught in parallel with topics in psychoacoustics. Students will create original studio work while developing listening and technical skills for audio production. Technical topics include recording, signal processing and mixing software, microphone technique, and live sound engineering. Class size is limited. Preference will be given to students who have completed MUSC 0200. Students will be evaluated for potential future work in the MEME program (Multimedia and Electronic Music Experiments) and past participation in MEME. Admission is determined by an entrance questionnaire completed at the first class meeting. Prerequisite: MUSC 0200
T,Th 10:30-11:50 a.m. (J. Moses) Steinert 205
MUSC 1240B Topics in New Media Theory and Production: Narrative and Immersion
A production course examining the potentials for engagement in new media installations. The course draws on techniques of narrative to establish engagement in immersive environments. Students will be introduced to cinematic concepts, interactive technologies, multi-channel video and surround sound environments. Class meetings will consist of viewing and analysis of exemplary work, discussion of readings, and critiques of student projects. An additional 1-hour technical workshop will be devoted to learning Jitter. Class members should have completed advanced work in film/video, digital sound, and/or creative writing. Open to upper-level undergraduate students and graduate students. The final class list will be determined after the first class meeting, by permission of instructor. S/NC
Wed. 1:00-4:50 p.m. (M. Cetilia) Granoff N430
MUSC 1240E Topics in New Media Theory and Production: Experimental Data Representation [interested students should register for MCM 1700U S01]
Experimental Data Representation (EDR) focuses on generatively composed, multimedia experiences utilizing the large-scale, video wall within the Digital Scholarship Lab. This interdisciplinary course brings together students from Brown and RISD to explore the creation of screen-based visualizations via programs authored by course participants. EDR provides a platform for students to examine and design ways in which experiential variables (as output) may be algorithmically determined by data sets (as input). Readings and projects will engage areas such statistical graphics, cartography, multimodal interaction, data visualization, sonification, and media art. Instruction will be offered in programming environments: NodeBox, Processing, Max/MSP, and Pure Data.Enrollment limited to 14 (7 Brown Students and 7 RISD students) Final class list will be determined after this meeting, with permission of the instructor. Enrollment S/NCPrevious Experience with one or more of the listed programming environments recommended.
Mon. 2:00-5:50 p.m. (S. Greenlee) Digital Scholarship Lab Rockefeller Library
MUSC 1240G Topics in New Media Theory and Production: Post-vernacular Composition/‘Pop Music’ gone Feral
This seminar explores the fertile creative territory found around the more adventurous edges of ‘popular’ musics. The course will focus on non-notated contemporary composition, but this need not be restricted to the recording studio, or to the production of ‘fixed’ works. The idea of post-vernacular is utilised to challenge the view that vernacular musics are only oriented towards commercialism and mass popularity. It seeks to extend and develop the inherently experimental dimensions of much vernacular musical practice. Students will respond to a number of increasingly open-ended assignments, and will explore cultural and aesthetic considerations via a portfolio of practical and theoretical work. Permission of instructor is required.
T/Th 2:30-3:50 p.m. (J. Ferguson) Steinert 205
MUSC 1500A Major Masters and Repertoires of Music: Bach
An examination of the life and work of Bach, including its place in German church music, views of his contemporaries and explanation of his manuscript and publishing history.
T/Th 10:30-11:50 a.m. (F. Jodry) Orwig 112
MUSC 1690C Seminar in Jazz Studies: John Coltrane
Saxophone virtuoso and composer, John Coltrane, pursued a life-long study of music that was driven by unparalleled energy, formed by a powerful intellectual curiosity and shaped by a deeply personal spirituality. By learning to sing and transcribe Coltrane’s music and by reading biographical, theoretical and critical materials, we will chronicle his personal, spiritual and musical development and investigate his influence on American culture, emphasizing Coltrane's position within the music industry, his leadership role in the Civil Rights movement and his impact on Jazz education. Prerequisite: MUSC0550 or permission. Enrollment limited to 20.
Thurs. 4:00-6:20 p.m. (M. McGarrell) Orwig 109
MUS 1920 Music and Modern Life
Examines topics related to the everyday use of music: the determinants of musical taste; music for emotional self-management (in the health club or Iraq War); "high" vs. "low" music; eclectic taste; popular music and the music industry; mp3blogs; new business models. Readings (in sociology, history, and cultural studies) and original field research by class members. Instructor permission required. Enrollment limited to 20.
Thurs. 4:00-6:20 p.m. (M. Perlman) Orwig 112
MUSC 1930 Music of Indonesia
The traditional music of Java, Bali, and Sumatra, with special attention to the bronze percussion orchestras (gamelan) and their use in ritual, dance, and drama. Topics include: music and trance; the impact of colonialism; nationalism, modernization, and tourism; and Indonesian music and "world beat." Theory and practice are integrated through extensive instruction on Brown's gamelan instruments. Enrollment limited to 20.
T,Th 1:00-2:20 p.m. (M. Perlman) Orwig 109
MUSC1936 Tradition and Protest: Persian and Iranian Music[interested students should register for MES 1000]
This course examines Persian and Iranian approaches to tradition and protest in two parts. The first part of the course will focus on traditional music from Iran. The students of this course will learn the basic cultural and musical traditions underpinning Persian/Iranian musical styles. Through directed reading and listening, and occasional in-class performance by the instructor, students will become familiar with the primary characteristics of Iran’s classical music traditions and instruments, learn relevant musical concepts and terminology, and develop critical listening skills. The second phase of this course will examine how modern Iranian musicians are disrupting these traditional concepts as a form of musical and conceptual protest, thereby making the music relevant to modern listeners while fundamentally changing conceptions of classical poetry in the process. No instrumental experience required.
Mon. 3:00-5:20 p.m. (M. Namjoo) Location TBD
MUSC 2080E Seminar in Ethnomusicology: Historiography of Music and the Performing Arts
Advanced seminar in methods of historical research and their relevance to the interpretation of music, the performing arts, and culture. Readings include Foucault, Collingwood, Schorske, Said, Adorno, Pierre Nora and Diana Taylor, as well as musicological essays by Taruskin, DeVeaux, Nettl, Tomlinson, Treitler, Lawrence Kramer, Susan McClary, Kerman, and Nicholas Cook. Open to juniors, seniors, and graduate students.
Mon. 3:00-5:20 p.m. (D. Gooley) Orwig 109
MUSC 2090B Seminar in Ethnomusicology: World Music in Theory and Practice
This seminar investigates "world music" as a contested term in ethnomusicology, a music-industry marketing category, and a college classroom subject. We will read critical accounts of the development and significance of the "world music" concept, compare several world music textbooks, experiment with teaching the exercises/assignments therein, and explore the scholarly literature on multiculturalist pedagogy. Prerequisite: graduate standing or written permission.
Wed. 12:30-2:50 p.m. (K. Miller) Orwig 109
MUSC 2220 Design and Playing Alternative Controllers
This seminar will explore the science and aesthetics of designing alternate controllers for musical performance. Topics will include basic electronics and hardware prototyping, instrument construction, theories of gesture, human-computer interface issues, and the challenges of mapping sensor data to meaningful musical parameters. Previous experience with MaxMSP or other real-time programming required. Permission of instructor required.
M,W 10:00-11:20 a.m. (J. Rovan) Granoff S310
Wed. (Lab) 11:30-12:50 p.m. (J. Rovan) Granoff S310
MUSC 2280 Designing Large-Scale Multimedia Projects
A production seminar designed for students working on a single, large project in Multimedia and/or Computer Music. The course covers planning and implementation strategies, with group critiques of proposals and works-in-progress. The class structure includes individual lessons for students working on a graduate or undergraduate thesis project. Permission will be granted based upon a questionnaire given in the first class. Enrollment is limited. Written permission required. May be repeated for credit.
Mon. 3:00-5:20 p.m. (J. Ferguson) Steinert 205
Performance Offerings - Spring 2014
MUSC 0221 Electroacoustic Improv Ensemble (Half-credit each semester) An ensemble devoted to free improvisation with new media. Experimental approaches to sound and focused listening techniques are explored with acoustic instruments, live electronics, real-time video, together with networked improvisation, and more. By auition. May be repeated for credit. Limited enrollment.
Wed. 7:00-9:50 p.m. (J. Rovan) Granoff N430
MUSC 0601 Chorus (Half credit each semester) A practical study of choral literature, techniques, and performance practice from Gregorian chant to the present, offered through rehearsals, sectionals, and performance. Reading and listening assignments may be required. Enrollment by audition, based on voice quality, experience, and music-reading ability. May be repeated for credit. Written permission required.
Mon, Wed. 6:30-8:20 p.m. (F. Jodry) Steinert 105
MUSC 0611 Orchestra (Half credit each semester) A practical study of the orchestral repertory from Bach to the present, offered through coaching, rehearsals, and performances. Enrollment by audition. Restricted to skilled instrumentalists. May be repeated for credit. Written permission required.
Tues, Thurs. 7:15-9:45 p.m. (Staff) Alumnae Hall
MUSC 0621 Wind Symphony (Half credit each semester) A practical study of the wind band repertory from Mozart to the present, offered through coaching, rehearsals, and performances. Enrollment by audition. Restricted to skilled instrumentalists. May be repeated for credit. Written permission required.
Mon, Wed. 6:00-7:20 p.m. (M); 6:00-8:20 p.m. (W) (M. McGarrell) Fulton Rehearsal Hall
MUSC 0631 Jazz Band (Half credit each semester) A practical study of jazz from the 1920s to the present through coaching, rehearsals, and performances. Seminars on arranging, ear training, and improvisation are conducted for interested students but the focus is on performance. Enrollment by audition. Restricted to skilled instrumentalists and vocalists. May be repeated for credit. Written permission required.
MUSC 0631 S01 Mon, Thurs 7:30-8:50 p.m. (M); 6:10-7:20 p.m. (Th) (M. McGarrell) Fulton Rehearsal Hall
MUSC 0631 S02 8:00-9:20 p.m. (T) (M. McGarrell) Arr.
MUSC 0631 S03 2:00-3:20 (W) (M. McGarrell) Arr.
MUSC 0631 S04 4:00-5:20 p.m. (W) (M. McGarrell) Arr.
MUSC0631 S05 4:00-5:20 p.m. (F) (M. McGarrell) Arr.
MUSC 0641 Ghanaian Drumming (Half credit each semester) A dynamic introductory course on drumming, dancing, and singing of Ghana and the diaspora. Students learn to perform diverse types of African music, including Ewe, Akan, Ga, and Dagomba pieces on drums, bells, and shakers. No prerequisites. May be repeated for credit. Enrollment limit 15.
Wed. 5:00-7:20 p.m. (Sec.01) (M. Obeng) Orwig 301
MUSC 0651 Javanese Gamelan (Half credit each semester) Instruction, rehearsals and performances of the music of Indonesia using the Department's Javanese gamelan ensemble, "Sekar Setaman." The Javanese gamelan is an orchestra consisting of gongs, bronze metallophones, xylophones, drums, a flute, singers, and a bowed string instrument. No prerequisite. May be repeated for credit. Limited enrollment.
Tues. 6:00-8:50 p.m. (I.M. Harjito) Orwig 111
MUSC 0661 Sacred Harp/Shape-Note Singing (Half credit each semester) Students will learn the traditional performance practices associated with the shape-note tunebook The Sacred Harp, a compilation of American vernacular hymnody first published in Georgia in 1844. This is an unaccompanied, four-part, participatory singing tradition. Ability to read Western music notation helpful but not required. No concert performances. No prerequisites. Repeatable for credit. S/NC.
Thurs. 5:00-6:50 p.m. (K. Miller) Steinert 105
MUSC 0681 Chamber Music Performance (Half credit each semester) The practical study of the literature of chamber music through participation in a small ensemble. Regular rehearsals, coaching by department staff, and performances are required. Enrollment by audition. Restricted to skilled instrumentalists. May be repeated for credit. Written permission required.
Arr. (L. Finkel)
MUSC 1961 Ghanaian Drumming (Half credit each semester) Students with experience in African and related musical traditions perform drumming, dancing, and singing of Ghana and the diaspora. Focus on a more challenging repertoire with emphasis on multi-part, lead, and improvisational playing. Prerequisite: audition. May be repeatable for credit. Written permission required.
Wed. 7:30-10:00 p.m. (M. Obeng) Orwig 301
MUSC 0810, 1810 Applied Music Program: Instruction in Vocal or Instrumental Music (Half-Credit each semester) Openings are limited. Enrollment and re-enrollment is by audition and jury. Lessons are given by consultants to the Applied Music Program. A fee is charged for enrollment. Copies of the Applied Music Program Guidelines giving detailed information are available online at www.brown.edu/music. Instructor’s permission required. Repeatable for credit four times on the same instrument. NOTE: MUSC0810 is restricted to skilled musicians. MUSC1810 is restricted to skilled musicians demonstrating mastery of an advanced repertory in their fields. Prerequisite for MUSC1810: MUSC 0400, MUSC 0550, or MUSC 0560.