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Courses in the Department of Music

FALL 2012

SPRING 2013

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.

Course Offerings for Fall 2012

New Faculty and/or Newly Added Courses for Fall
Visiting Lecturer Frank Lehman will teach MUSC1645 Seeing Through Sound:
Music in Film and Visual Media
Asst. Prof. Joshua Tucker will teach MUSC 1915 Music, Mediation, Circulation
and a new ensemble MUSC 0645 Brazilian Choro Ensemble
Assoc. Prof. Gooley will teach MUSC0 021H Manifestos: Art, Politics and the Idea of Progress

MUSC 0010 Introduction to Western Music †
A study of a thousand years of music of Europe and America through CDs, DVDs, and YouTube. We'll explore how individuals, institutions, and societies create music, use it, experience it, pay for it, and control it. We'll discuss music and time, music and politics, music and identity. Still, the heart of the course is listening to great music, and learning how it works.
T/Th 10:30-11:50 a.m. (D. Josephson) Orwig 315

MUSC 0021B First Year Seminar: Reading Jazz †
This course will explore the musical aesthetics of jazz in texts about its world. Students will listen to music and read poetry, fiction, autobiography and criticism to investigate techniques (including improvisation, rhythm, timbre and articulation), which authors such as Langston Hughes, Ralph Ellison, Charles Mingus, Stanley Crouch and Jack Kerouac employed to describe and support a creative community. Enrollment limited to 20 first year students. FYS
Thurs. 4:00-6:20 p.m. (M. McGarrell) Orwig 109

MUSC 0021C First Year Seminar: Bach †
The course will explore the life and work of J. S. Bach, with an emphasis on his place in the Baroque era, and his influence on later composers. Topics will include issues of performance practice, surviving source material, and performance issues in our own time. Students will listen to music, live and recorded, compare several biographies, and explore the world of Bach criticism. Enrollment limited to 20 first year students. FYS
T/Th 9:00-10:20 a.m. (L. Jodry) Orwig 112

MUSC 0021F First Year Seminar: Popular Music and Society in Latin America†
This course examines the way that popular music shapes, and is shaped by, its social environment, with a special focus on twentieth-century Cuban and Brazilian styles. It introduces students to sociomusical analysis, by exploring the way that selected styles connect with the lived experiences of local audiences, the artistic and political goals that have motivated key performers, and the effect of their actions on broader regional debates. Issues covered include the way that musical styles become national symbols; music as a medium for social politics; and the roles of industrialization, migration, urbanization, and media dissemination in driving musical change. Enrollment limited to 20 first year students.
M,W,F 10:00-10:50 a.m. (J. Tucker) Orwig 109

MUSC 0021H First Year Seminar: Manifestos: Art, Politics and the Idea of Progress †
Ever since Karl Marx and Friedrich Engels wrote their "Communist Manifesto" (1848), artists, activists and politicians have used manifestos to announce radical change and justify provocative new ideas or practices. This seminar examines the manifesto as a genre of writing with a particularly strong influence on artistic movements in 20th century Modernism. Looking at examples by poets, musicians, and visual artists, we consider how they are informed by visions of progress, social action, political efficacy, and artistic or historical necessity. Authors include Russolo, Apollinaire, Schoenberg, Munch, Klee, Kandinsky, Stravinsky, Dali, Borges, Artaud, Frank O'Hara, Duchamp, Mallarmé, and Boulez. Enrollment limited to 20 first year students. FYS
Mon. 3:00-5:20 p.m. (D. Gooley) Granoff N430

MUSC 0041 World Music Cultures: Middle East and Asia †
Introductory survey of several of the world's musical traditions, with an emphasis on East, South, and Southeast Asia. Expands powers of musical appreciation through lectures, guided listening, and active participation in music-making. Focuses on traditional music and its relations to dance and theatre, and to its social, religious, and historical contexts, but also includes popular music and the effects of modernization. No prerequisites.
T/Th 2:30-3:50 p.m. (M. Perlman) Orwig 112

MUSC 0200 Computers and Music †
An introduction to the field of computer music, focusing on the use of electronics and computers in music and performance. Investigates basic acoustics, perception of sound, the history of music technology, and musical applications. Extensive listening assignments illustrate the impact of technology on popular and experimental genres. No prerequisites, though some experience with computers and some knowledge of music is very helpful. Significant hands-on experience with computer music systems. Enrollment limited to 80 students. Permission will be granted based on a questionnaire given in the first class, with preference given to lower-level students.
T,Th 10:30-11:50 a.m. (T. Winkler) Grant Recital Hall

MUSC 0550 Theory of Tonal Music†
For students with knowledge of the rudiments of music, including scales, intervals, and key signatures. Knowledge of keyboard strongly recommended. Prerequisite to the music concentration. Intensive study of tonal harmony, voice leading; analysis, ear training, sight-singing, keyboard exercises. A placement test will be administered on the first day of class in Orwig 315. Instructor permission required. MUSC 0550 is prerequisite to MUSC 0560.
T,Th (S01) 1:00-2:20 p.m. (J. Baker) Orwig 315
T,Th (S02) 1:00-2:20 p.m. (M. Steinbach) 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 1010 Advanced Musicianship I †
Training in advanced musicianship skills relevant to Western art music from the sixteenth Century to the present, including sight singing, ear training, score reading, keyboard harmony, improvisation, and musical transcription. Prerequisite: MUSC 0560.
M,W,F 2:00-2:50 p.m. (A. Cole) Orwig 315

MUSC 1030 Tonal Counterpoint †
The contrapuntal techniques of the 18th century with emphasis on music of Bach. Written exercises in and analysis of several genres including fugue. Prerequisite: MUSC 0560 or permission of instructor.
T,Th 1:00-2:20 p.m. (G. Shapiro) Orwig 112

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.
Thurs. 4:00-6:20 p.m. (G. Shapiro) Orwig 112

MUSC 1210 Seminar in Electronic Music: Real-Time Systems
Seminar in Electronic Music is a study of music employing electronic media, including real-time digital signal processing, multimedia, and live performance. Technical aspects of the course focus on programming using Max/MSP to create interactive projects and algorithmic compositions. Permission of instructor required. Interested students must come to the first class. Preference will be given to students who have completed MUSC 0200.
T,Th 10:30-11:50 a.m. (J. Rovan) Steinert 101
Fri. (Lab) 1:00-1:50 a.m. (J. Rovan) Steinert 101

MUSC 1250 Sound Design †
This production seminar is a study of techniques and aesthetics used to create sonic environments and effects that enhance a variety of media including video, radio and audio art, new media, theater, and installation art. Technical topics include audio production in multi-channel formats, advanced audio editing, mixing and synthesis techniques, and audio system design. Enrollment limited to 12 students. Preference will be given to students who have completed MUSC 1200. Others 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. Prereq: MUSC 1200.
T/Th 2:30-3:50 p.m. (J. Moses) Steinert 205

MUSC 1640G The Case of Wagner
This seminar will explore Wagner, Wagnerism and revolutionary aesthetics and politics in the 19th century. Close textual, musical, and production analysis of three Wagner music-dramas -Lohengrin, Die Walküre, and Parsifal- will accompany reading and discussion of philosophical and critical texts from Nietzsche to Zizek. Enrollment limited to 20. Instructor permission required.
Wed. 3:00-5:20 p.m. (M. Steinberg) Orwig 112

MUSC 1645 Seeing Through Sound: Music in Film and Visual Media
A study of the history and craft of film scoring. Emphasis is placed on critical theories and analytic approaches to music and the moving image. Special focus on composers Steiner, Herrmann, Williams, and Corigliano. Prior musical training an asset but not required.
T, Th 4:00-5:20 p.m. (F. Lehman) Orwig 315

MUSC 1900 Introduction to Ethnomusicology
The study of people making music. Ethnographic research and writing on musical practices; history of ethnomusicology; musical case studies from around the world highlighting such issues as authenticity, tradition, commercialism, amateurism, postcolonial politics, and the ethics of fieldwork. Prerequisite: MUSC0550 or written permission.
T,Th 10:30-11:50 a.m. (K. Miller) Orwig 109

MUSC 1915 Music, Mediation, Circulation
This course approaches the social life of popular music by examining the people, the sites of media work, and the systems of circulation through which sounds are made into public objects. Considering music not only as sound, but also as commodity and signifying practice, we will discuss record studios and labels, radio and television broadcasts, internet distribution, and points of sale, among others, as key sites where musicians and those they work with make decisions about sound, decisions that are driven by ideological and economic considerations, and which in turn shape the audiences that accrue to particular styles and recordings.
Mon. 3:00-5:20 p.m. (J. Tucker) Orwig 109

MUSC 2050 Musical Thinking
An ethnomusicological approach to the analysis of musical structures and processes. Case studies include jazz, Irish music, French-Canadian fiddling, North Indian singing, Javanese gamelan, African drumming, and Japanese court music. Topics include linguistic, psychological, and oral-formulaic theories; historical change; cross-cultural modal theory; improvisation; the nature of African rhythm; "insider" versus "outsider" accounts. Readings, discussion, and first-hand experience of selected musics. Facility with Western staff notation required.
Wed. 3:00-5:20 p.m. (M. Perlman) Orwig 109

MUSC 2080A Seminar in Ethnomusicology: Music and Technoculture
This seminar investigates ethnographic approaches to technologically-mediated musical practices. Case studies will focus on recording studios, electronic dance music, broadcast media, digital gameplay, virtual-reality spaces, and popular music reception. Theoretical readings will will draw on media studies, performance studies, and media design/production texts, in addition to contemporary work in ethnomusicology. Students will conduct ethnographic projects. Prerequisite: graduate standing or written permission.
Mon. 3:00-5:20 p.m. (K. Miller) Orwig 112

MUSC 2210 Digital Performance
A production seminar examining the artistic impact and creative potential of digital media in the context of live performance. Readings and analysis of work examine innovations in performance practice from dance, theatre, performance art and music. Collaborative assignments investigate video projection, sound design and interactive sensor technology, culminating in a final large-scale performance. Permission will be granted based upon a questionnaire given in the first class.
Wed. 1:00-4:50 p.m. (T. Winkler) Granoff N430

MUSC 2230 Composing for Real-Time Systems
This seminar will explore the use of interactive systems from the point of view of the programmer/performer. Using improvisation as a starting point, we will explore the aesthetics and philosophy of performance, designing real-time systems that enhance the relation between action and event. The immediacy of improvised performance will then offer a perspective on the actions implied in composition itself. Systems designed for the individual performer become the basis for a large-scale real-time composition. Previous experience with MaxMSP or other real-time programming required. Permission of instructor required.
Mon. 3:00-5:20 p.m. (J. Rovan) Steinert 101

Performance Offerings - Fall 2012

MUSC 0220 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 audition. May be repeated for credit. Limited enrollment.
Wed. 7:00-9:50 p.m. (J. Rovan) Steinert 205

MUSC 0600 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. (L. Jodry) Steinert 105

MUSC 0610 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. (P. Phillips) Alumnae Hall

MUSC 0620 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 0630 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 0630 S01 Mon, Thurs 7:30-8:50 p.m. (M); 6:10-7:20 p.m. (Th) (M. McGarrell) Fulton Rehearsal Hall
MUSC 0630 S02 8:00-9:20 p.m. (T) (M. McGarrell) Arr.
MUSC 0630 S03 2:00-3:20 (W) (M. McGarrell) Arr.
MUSC 0630 S04 4:00-5:20 p.m. (W) (M. McGarrell) Arr.

MUSC 0640 Ghanaian Drumming (Half credit each semester) A dynamic course in the performance of contemporary drumming and dancing styles of West Africa. Students learn to perform diverse ceremonial and recreational music from Ghana through rehearsals, discussions, readings and listening. No prerequisites. May be repeated for credit. Enrollment limited to 15. Written permission required.
Wed. 5:00-7:20 p.m. (M. Obeng) Orwig 301

MUSC 0645 Brazilian Choro Ensemble (Half credit each semester) Students will play this popular Brazilian style, which emerged in the late 19th century and is often compared to early jazz. Classes run according to the traditional roda model, a structured jam session where performers read through, improvise upon, and hone their abilities to play familiar tunes. Prior familiarity with choro music not required, but some instrumental expertise is; ability to read notation preferred. Typical instruments include guitar, cavaquinho (Brazilian ukulele), mandolin, flute, and pandeiro (Brazilian tambourine), but others are welcome to participate on instructor approval, as are performers interested in learning these. Instructor permission required. Enrollment limited to 20. Repeatable for credit. S/NC.
Mon. 5:30-7:00 p.m. (J. Tucker) Orwig 301

MUSC 0650 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 0660 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)

MUSC 0670 Old-Time String Band (Half credit each semester) Southern Appalachian Mountain music on such acoustic instruments as fiddle (violin), banjo, mandolin, and guitar. Music taught by ear. Prerequisite: audition during first class. May be repeated once for credit.
Tues. 7:00-8:50 p.m. (S.Astrausky/R. MacLeod) Steinert 105

MUSC 0680 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. Arr. (P. Phillips) Arr.

MUSC 1960 Ghanaian Drumming (Half credit each semester) Building on the knowledge and skills required in MUSC 640/641, students will learn to perform a more challenging and specialized repertoire of contemporary drumming and dancing styles of West Africa, through more advanced rehearsals, discussions, readings and listening. Prerequisite: 67/68 or permission of instructor. May be repeated for credit. Enrollment limited to 15. Written permission required. Half credit each semester.
Wed. 7:30-9:50 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: MUSC 0810 is restricted to skilled musicians. MUSC 1810 is restricted to skilled musicians demonstrating mastery of an advanced repertory in their fields. Prerequisite for MUSC 1810: MUSC 0400, MUSC 0550, or MUSC 0560.
Arr. Arr. (Staff) Arr.


Course Offerings for Spring 2013

New Faculty and/or Newly Added Courses for Spring
Asst. Prof. Joshua Tucker will teach MUSC 0064 Honky Tonk Heroes
and the continuation of a new ensemble MUSC 0646 Brazilian Choro Ensemble
Prof. David Josephson will teach MUSC 1640E Seminar in Opera Studies: Italian Opera
Stephan Moore will teach MUSC 0210 Advanced Studio Composition [please note that this course can be counted as an elective for the Computer Music concentration track]

MUSC 0030 History of Jazz|The development of jazz from its roots to the present. Focuses on the study of style types (including New Orleans style, early piano jazz, swing, bebop, and cool jazz) and their major instrumental and vocal exponents. Jazz as a social phenomenon is studied in relation to contextual aspects of folk, popular, and art music traditions in the U.S.
T,Th 10:30-11:50 p.m. (M. McGarrell) Orwig 315

MUSC 0040 World Music Cultures: Africa, America, Europe, Oceania
A survey of a variety of musical styles from Africa, the Americas, Europe, and Oceania outside the Western art music tradition. Introduces these musics in their historical, social, and cultural context, in an attempt to understand them in their own theoretical systems and aesthetic frameworks.
MWF 10:00-10:50 a.m. (B. Hanson) Orwig 109

MUSC 0051 Mozart
Mozart's life and music from soup to nuts. While we'll read some of the rich correspondence that anchors his biography, the heart of the course is a study of his glorious music, from intimate private piano pieces to public operas and ending with the Requiem. A rudimentary ability to read music is necessary. We'll offer an optional listening section.
MWF 11:00-11:50 a.m. (D. Josephson) Orwig 315

MUSC 0210 Topics in Electronic Music and Multimedia: Advanced Studio Composition
This course will focus on developing and reinforcing fundamental technical skills,
musical concepts, and critical listening abilities associated with the practice of
composition in an electronic music studio. These studies will be tied to a broad
range of aesthetic approaches and discussions of medium, audience, and context.
Through a series of self-directed projects, students will be encouraged to expand
their knowledge and craft, and will provide each other with a forum for exploring
their creative studio work. MUSC 0200 is a prerequisite, and preference will be given
to students who have previously taken MUSC 1200, 1210, and/or 1250. Can be counted as an elective towards the Computer Music concentration.
Tues. 4:00-6:20 p.m. (S. Moore) Granoff Studio

MUSC 0064 Honky Tonk Heroes
This course explores country music from its origins to the present day. We will trace its development through the careers of foundational artists like the Carter Family, Hank Williams, Loretta Lynn, and Willie Nelson, and evaluate the way that their legacy is reflected in the work of contemporary artists like Corb Lund, Hayes Carll, and Neko Case. Beyond the individual creativity of these figures, we will consider the way that country music has been shaped by the recording industry, the relation it has to race, gender, and political identities, and the international spread of the American country sound.
T,Th 1:00-2:20 p.m. (J. Tucker) Orwig 109

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.
MWF 10:00-10:50 a.m. (Staff) 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. (J. Baker) Orwig 315
T,Th (S02) 1:00-2:20 p.m. (M. Steinbach) 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 0930 Romantic and Modern Music
A history of European and American art music from Beethoven's Ninth Symphony to the Postmodernists. Prerequisite: MUSC 0550 or permission of instructor.
T/Th 10:30-11:50 a.m. (D. Gooley) 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

MUSC 1050 Advanced Music Theory II
A study of theories of Western art music since Debussy. Exercises in analysis and composition, focusing on works of Debussy, Stravinsky, Schoenberg, Webern, Bartok and Ives. Students give presentations on selected later composers. Prerequisite: MU 0560 with grade of B, or the equivalent.
MWF 11:00-11:50 a.m. (J. Baker) Orwig 109

MUSC 1100 Introduction to Composition
Composition students begin by using technical resources developed in their previous theoretical studies. Analysis and discussion of contemporary music provides examples of alternatives to traditional compositional strategies, which students integrate into later assignments. A study of contemporary notational practices and computer-based manuscripting and sequencing is also included. Prerequisite: MUSC 0560 or permission of the instructor. Enrollment limited to 20.
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 2:30-3:50 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. (T. Winkler) Granoff N430

MUSC 1640E Seminar in Opera Studies: Italian Opera
A study of ten nineteenth- and early-twentieth century Italian operas by Rossini, Bellini, Donizetti, Verdi, and Puccini. We'll study the sources of their librettos, the opera houses that presented them, and their singers and orchestras. We'll examine them as musical dramas, psychological studies, social documents, and sites for stage directors. Finally we'll consider their reception from their early days to the present. Work will include DVDs, CDs, and readings.
Mon. 3:00-5:20 p.m. (D. Josephson) Orwig 109

MUSC 1680 Musical Performance and Theatricality
Explores the visual and theatrical dimensions of music performance--both recent and historical--through the analysis of live performances, video clips, and historical documents. Using the critical methods of performance studies, we seek to uncover those aspects of musical experience that have become transparent or normalized by their familiarity, and which are eluded by a traditional focus on music as "sound alone." We concentrate on five genres--rock, classical, pop, jazz, and experimental--and consider figures such as Arturo Toscanini, David Bowie, Jimi Hendrix, Louis Armstrong, Miles Davis, Pauline Oliveros, John Zorn, Diamanda Galás, Madonna and Michael Jackson. Enrollment limited to 24. First year students require instructor permission.
T/Th 2:30-3:50 p.m. (D. Gooley) Orwig 109

MUSC1700 Conducting and Score Reading
The art of reading, analyzing, and conducting a musical score. Studies in clef reading, transposition, ear-training, and structural anlaysis to develop the skills needed for full comprehension of an orchestra score. Introduces the theory and technique of conducting with practice in the art of physical gesture. Selected repertoire from the Baroque through contemporary periods are studied and conducted in class. Written permission required. Prerequisite: MUSC0560. May be repeated for credit.
Mon 3:00-5:20 p.m. (P. Phillips) Grant Recital Hall

MUSC 1905A Music and Cultural Policy
What is to be done about music and the people who make it? All over the world, individuals, governments, NGOs, and other groups are making plans for music: to ensure its survival, to make it known to a wider public, or to use it as an engine of economic growth. This course will examine various social engineering projects involving music. Topics will include media and internet regulation; ownership of music and intellectual property law; the role of institutions such as UNESCO; music in war and peace; music, heritage, and cultural tourism; and conservation, stewardship, and sustainability. No prerequisites.
Wed. 3:00-5:20 p.m. (J. Titon/M. Perlman) Orwig 109

MUSC 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.
Mon. 3:00-5:20 p.m. (M. Perlman) Orwig 112

MUSC 1950 Jazz Transcription and Analysis
Transcriptions from major jazz recordings are made by the students. The personal styles of the musicians are defined through analysis in the context of the various trends in jazz history. The transcriptions are analyzed within the parameters of rhythmic and harmonic structures, tone quality, motific design, and idiomatic performance. Singing, ear-training, and dictation are used to develop transcription skills. Instructor permission required.
Thurs. 12:00-2:50 p.m. (E. Tomassi) Fulton Rehearsal Hall

MUSC 2000 History of Ethnomusicological Thought
A history of thought about music outside the Western art music tradition. Three historical paradigms-comparative musicology, musical folklore, and ethnomusicology-and the search for a new approach to ethnomusicology in the postcolonial era. Prerequisite: MUSC 1900 or consent.
Wed. 12:20-2:50 p.m. (J. Titon) Orwig 112

MUSC 2080D Seminar in Ethnomusicology: Music, Nation and Nationalism
This course explores the relation between music and nationhood, as a historically particular form of collective identity, and a dominant political category in late modern societies. Students will work with key texts in the study of nationhood and nationalism, applying them to musical case studies from different world regions. Touching upon art and popular music, these cases will explore the use of nationalist rhetoric to draw citizens into state projects; the appropriation of minority expressions in defining a national self; efforts by postcolonial societies to forge national sentiment from the fragments left by decolonization; and the nation's fate after globalization.
Thurs. 4:00-6:20 p.m. (J. Tucker) Orwig 109

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.
Tues. 1:00-3:50 p.m. (T. Winkler) Steinert 205

Performance Offerings - Spring 2013

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 audition. May be repeated for credit. Limited enrollment.
Wed. 7:00-9:50 p.m. (Staff) Steinert 205

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. (L. 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. (P. Phillips) 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)

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.

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 0646 Brazilian Choro Ensemble (Half credit each semester) Students will play this popular Brazilian style, which emerged in the late 19th century and is often compared to early jazz. Classes run according to the traditional roda model, a structured jam session where performers read through, improvise upon, and hone their abilities to play familiar tunes. Prior familiarity with choro music not required, but some instrumental expertise is; ability to read notation preferred. Typical instruments include guitar, cavaquinho (Brazilian ukulele), mandolin, flute, and pandeiro (Brazilian tambourine), but others are welcome to participate on instructor approval, as are performers interested in learning these. Instructor permission required. Enrollment limited to 20. Repeatable for credit. S/NC.
Mon. 5:30-7:00 p.m. (J. Tucker) 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. (C. Johnson-Roberson) Steinert 105

MUSC 0671 Old-Time String Band (Half credit each semester) Southern Appalachian Mountain music on such acoustic instruments as fiddle (violin), banjo, mandolin, and guitar. Music taught by ear. Prerequisite: audition during first class. May be repeated once for credit.
Tues. 7:00-8:50 p.m. (J. Titon) Orwig 301

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. (P. Phillips)

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.
Arr. (Staff)