Courses in the Department of Music

FALL 2009 | SPRING 2010

[NOTE: A full list of Banner numbers for Music courses and former corresponding numbers can be found at the bottom of this page.]

Course Offerings for Fall 2009

MUSC 0010 Introduction to Western Music
A study 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.
M,W,F 1:00-1:50 p.m. (D. Josephson) Orwig 315

MUSC 0021 First Year Seminar
A seminar designed for students interested in music who are in their first year of study at Brown. No special musical background is required. All students welcome. In order to preserve an intimate environment for dialogue, and to promote active participation of all the students, enrollment will be limited.
MUSC 0021C Bach
The course will be an examination of the life and works of J. S. Bach, with an emphasis on the context in which he wrote and performed his works. Choral and keyboard works will be emphasized, and 18th Century ideals of sonority and issues of performance practice will be included. Students who read music are encouraged; performance opportunities will be explored depending on the members of the class.
T,Th 9:00-10:20 a.m. (L. Jodry) Orwig 112

MUSC 0021D Latino Diaspora Music
This first-year seminar will explore the discipline of ethnomusicology and the cultural diversity of the Americas through the lens of Latin American music. Readings will focus on popular music and dance genres that originated in the Caribbean and Mexico and are now practiced in North American diaspora contexts. Students will undertake individual ethnographic projects on a wide variety of Latino diaspora music traditions, to be documented via publicly-accessible research blogs. Recurring themes that cross-cut the course will include migration, cultural hybridity, youth culture, and musical collaboration/appropriation. The seminar will facilitate an understanding of the historical development and transnational pathways of musical traditions. No formal background in music is required. Enrollment limited to 20 first-year students. FYS FYS DVPS LILE
M,W,F 11:00-11:50 a.m. (K. Miller) Orwig 109

MUSC 0060 Bluegrass, Country and Old-Time Music
Folk songs, fiddle tunes, lined-out and shape-note hymnody, bluegrass, and country music, mainly in Appalachia and the South. Historical development, musical design, and how the musics construct working-class and regional identities, religious experience, gender, and rural values, with attention to commodification and the rise of the national country music industry.
T,Th 2:30-3:50 p.m. (J. Titon) Orwig 315

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 50 students. Permission will be granted based upon a questionnaire given in the first class. LILE
T,Th 10:30-11:50 a.m. (T. Winkler) Grant Recital Hall

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
T,Th 10:30-11:50 a.m. (M. McGarrell) Orwig 315

MUSC 0455 Musical Theatre Songwriting [Interested students should register for TSDA0960A]
A practical study in the creation of songs for the musical theatre. Students enrolled in this course will develop the skills necessary to write the music and lyrics for pieces intended for use in dramatic works. American and international musical theatre writers from the last eighty years will be studied and analyzed. Those enrolled may choose a focus of composition, lyric writing, or both. They will present and perform (or arrange performances of) new material (and rewritten material) each week to be examined by the class, culminating in a cabaret of new works. While beginners are encouraged to join, this is not a music theory course, and composers are expected to have a basic knowledge of theory (or self-taught skills).
Tues. 4:00-6:20 p.m. (A. Hertz) Orwig 315

MUSC 0550 Theory of Tonal Music
For students with keyboard ability and knowledge of the rudiments of music. Prerequisite to the music concentration. Intensive study of tonal harmony, voice leading; analysis, ear training, sight-singing, keyboard exercises. Students interested in MUSC 0550 must take a placement test administered during the first regular class meeting. Instructor permission required. MUSC 0550 is prerequisite to MUSC 0560. Students MUST register for a lab, and a lecture section.
T,Th (S01) 1:00-2:20 p.m. (D. Hurst) 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 9:00-10:20 a.m. (D. Gooley) Orwig 315

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 with a grade of B, or permission of the instructor.
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. (F. Bruce) Orwig 112

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 students.
Mon. 3:00-5:20 p.m. (G. Shapiro) Orwig 112

MUSC 1140 Classical Improvisation
A historical and practical study of improvisation in western classical traditions from the middle ages to the 19th century, with emphasis on the common practice period 1700-1850. Students will apply theoretical knowledge in harmony and counterpoint to in-class improvisations, learning such skills as melodic ornamentation, chaconne-bass elaborations, variations, preluding, and free improvisation starting with simple exercises and gradually elaborating more complex pieces. These practices will be studied in relation to their historical contexts and shifting creative functions. Historical topics include cadenzas, harmonic experimentation, the relationship between oral and written transmission, and the social meaning of performance. MUSC0560 and consultation with instructor recommended. Prerequisite: MUSC 0550. Enrollment limited to 15.
Wed. 3:00-5:20 p.m. (D. Gooley) Orwig 112

MUSC1210 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. Students MUST register for a lab, and a lecture section. Instructor’s permission required.
T,Th 2:30-3:50 p.m. (J. Rovan) Steinert 101
Fri. (Lab) 12:00-12:50 p.m. (J. Rovan) Steinert 101

MUSC 1240 Topics in New Media Theory and Production
MUSC 1240A Sonic Psychogeography
Psychogeography loosely describes a cluster of art practices that explore the effects of the geographical environment on the emotions and behaviors of individuals. How can sound, uniquely powerful in triggering memory and connecting us to the present moment, be used in psychogeographical work? Traveling, mapping, walking, and otherwise getting around both urban and rural landscapes will inspire class projects: audio collages, video works, headphone tours, interactive installations, public interventions. Come prepared to walk, to read, to listen, to look, and to make. Some experience with sound or video editing required.
Fri. (Class) 1:00-3:50 p.m. (E. Biggs) Steinert 101
Fri. (Workshop) 4:00-4:50 p.m. (E. Biggs) 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 and mixing techniques, and audio system design. Permission of instructor required. Enrollment limited to 12 students. Preference will be given to students who have completed MUSC 1200 and MUSC 1210. Others will be evaluated for potential future work in the MEME program (Multimedia and Electronic Music Experiments) and past participation in MEME. LILE Enrollment Limited to 12.Admission is determined by an entrance questionnaire completed at the first class meeting. Prereq: MUSC 1210.
T, Th 2:30-3:50 p.m. (J. Moses) Steinert 205

MUSC 1671 Great Conductors of the 20th Century
Conducting has played a critical role in modern musical life. This seminar will examine the history, craft, status, and influence of celebrity conductors through sound recordings, videos, memoirs, biographies, scores, and manuals. Among those we shall study are Barenboim, Beecham, Bernstein, Dudamel, Furtwängler, Karajan, Kleiber, Klemperer, Koussevitzky, Monteux, Stokowski, Szell, and Toscanini.
Mon. 3:00-5:20 p.m. (D. Josephson) Orwig 109

MUSC 1920 Music and Modern Life
Examines topics related to the everyday use of music: popular music and the music industry; the impact of technology; the determinants of musical taste; fandom; record collectors; and music-based subcultures (e.g., Deadheads). The reading of empirical studies (and original field research by class members) are combined with theoretical readings drawn from sociology, ethnomusicology, and cultural studies. Instructor permission required.
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 students.
T,Th 10:30-11:50 a.m. (M. Perlman) Orwig 112

MUSC 2010 Field Research in Ethnomusicology
Introduction to the theory and practice of fieldwork with people who make music. Project design, interviewing, still and video photography, recording, ethics, the researcher's roles, relations with human subjects, and strategies for documenting music in its human context. Prerequisite: Graduate standing or written permission.
Wed. 3:00-5:20 p.m. (J. Titon) Neiman Archive

MUSC 2080 Seminar in Ethnomusicology
MUSC 2080C 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.Prerequisites: graduate standing or written permission.
Tues. 4:00-6:20 p.m. (C. Tucker) 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. Students MUST register for a lab, and a lecture section.
Wed. 2:00-4:50 p.m. (T. Winkler) Steinert 101
Wed. (Lab) 1:00-2:50 p.m. (T. Winkler) Steinert 101

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. 2:00-4:50 p.m. (J. Rovan) Steinert 101

Performance Offerings - Fall 2009

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. 7:00-10:00 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. 6:30-9:00 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) Alumnæ Hall

MUC 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.
Mon, Thurs 7:30-8:50 p.m. (M); 6:00-7:20 p.m. (Th) (M. McGarrell) Fulton Rehearsal Hall

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 prerequisities. May be repeated for credit. Enrollment limited to 15. Written permission required. Half credit each semester.
Wed. 5:00-7:20 p.m. (Sec.01) (M. Obeng) 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. 6:00-9:00 p.m. (M. Perlman) 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. 5:00-7:00 p.m. (K. Miller) Steinert 105

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. 7:00-9:00 p.m. (J. Titon) Orwig 301

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. (P. Phillips)

MUSC 0810 Applied Music Program: Instruction in Vocal or Instrumental Music (Half-Credit each semester) Restricted to skilled musicians. 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.

MUSC 1810 Applied Music Program: Instruction in Vocal or Instrumental Music (Half-Credit each semester) Restricted to skilled musicians demonstrating mastery of an advanced repertory in their fields. 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. Prerequisite: a passing grade or current enrollment MUSC 0400, MUSC 0550, or MUSC 0560.

MUSC 1960 Ghanaian Drumming (Half credit each semester) Building on the knowledge and skills required in MU 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. 7:30-10:00 p.m. (M. Obeng) Orwig 301

Course Offerings for Spring 2010

MUSC 0021 First Year Seminar
A seminar designed for students interested in music who are in their first year of study at Brown. No special musical background is required. All students welcome. In order to preserve an intimate environment for dialogue, and to promote active participation of all the students, enrollment will be limited.
MUSC 0021E Good Vibrations - The Music of Everyday Objects
This seminar will investigate the sonic properties of everyday objects and environments, and how they can transform into musical expression. Through a focus on listening and experimentation, the seminar will explore resonance, reverberation, field recording, feedback, circuit bending, archaeological acoustics, and other topics. Students will create individual and collaborative compositions and performance situations. No formal music background is required. Enrollment limited to 20 first year students. FYS
T,Th 2:30-3:50 p.m. (J. Rovan) Steinert 101

MUSC 0052 Beethoven
A study of Beethoven’s life and music.
T,Th 10:30-11:50 a.m. (D. Josephson) Orwig 315

MUSC 0061 Blues
Downhome, classic, 'Chicago', and urban blues. History, musical structure, musical styles, singers' lives, and meanings of blues lyrics. The current blues revival, blues and tourism,, race and revisionist blues scholarship, and the relation of blues to African American poetry and fiction. Artists such as Ma Rainey, Charley Patton, Robert Johnson, Lightnin' Hopkins, Muddy Waters, B.B. King, Buddy Guy, Robert Cray. Limited to 60 students.
T,Th 2:30-3:50 p.m. (J. Titon) Grant

MUSC 0075 Jazz and American Culture
Explores jazz in relation to American history, discussing how economics, war conditionsm 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 0210 Topics in Electronic Music and Multimedia
MUSC 0210C Music/Video: An introduction to electronic sound & image
A survey of basic techniques in creating computer-based music and video, with a special focus on the ways that sound and image impact one another. We will work to develop critical listening and viewing skills through the study of important historical and contemporary works ranging from experimental audio and video to film soundtracks to MTV. Through ten progressive weekly assignments, you will learn how to create imaginative electronic music and video. The final project will consist of a five-minute audiovisual piece which will be screened, performed, or exhibited at a public event.
Thurs. 6:30-9:20 p.m. (E. Biggs) MML [Multimedia Lab]

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. (P. Phillips) 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 0910 Medieval and Renaissance Music
A history of western European music to Monteverdi's Orfeo (1607), with emphasis on the analysis of individual works supported by reading and listening. Among the major composers studied are Byrd, Dufay, Josquin, Machaut, and Palestrina. Strongly recommended for freshmen and sophomores considering a concentration in music. Limited to students who can read music. Prerequisite: MUSC 0550 or permission of instructor.
T,Th 9:00-10:20 a.m. (L. Jodry) Orwig 112

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 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: MU 1100 or permission of the instructor. Enrollment limited to 20 students.
Thurs. 4:00-6:20 p.m. (Staff) 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 techniques of composition employing electronic media, including composition in large forms, use of the recording studio, mixed media, and live electronic performance. Prerequisite: MUSC0200 or equivalent. Enrollment is limited. Written permission required.
Tues. 2:30-4:50 p.m. (J. Moses) Steinert 205
Thurs. (Lab) 2:30-3:50 p.m. (J. Moses) Steinert 205

MUSC 1240 Topics in New Media Theory and Production
MUSC 1240B Narrative and Immersion
Narrative and Immersion is 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. Classes 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. May be repeated for credit. S/NC
Thurs. 2:00-4:50 p.m. (L. Thornton/T. Winkler) Steinert 205
Thurs. (Lab) 1:00-1:50 p.m. (L. Thornton/T. Winkler) Steinert 205

MUSC 1600 Seminar in Music and Critical Theory
MUSC 1600B Adorno and Jankelevitch in Dialogue
Philosophers Theodor Adorno and Vladimir Jankelevitch were both leading philosophers of the mid-20th century (in Germany and France respectively). Both were also avid pianists who produced several philosophical books on music. This course examines their musical writings both independently and comparatively. Jankelevitch’s ethical and metaphysical questions, together with Adorno’s sociological and historical ones, will be studied in relation to the philosophical traditions they inherited and transformed. Their work will also be evaluated in the volatile European context of the period 1930-70. Enrollment limited to 20 students.
Wed. 3:00-5:20 p.m. (D. Gooley) Orwig 112

MUSC 1640 Seminar in Opera Studies
MUSC 1640C Wagner’s Ring
This seminar will pursue a rigorous musical, textual, historical, and political analysis of Wagner's tetralogy The Ring of the Nibelung. It will include an analysis of production styles, with specific attention to the production currently in joint development at the Teatro alla Scala, Milan, and the Berlin State Opera, to be directed by Guy Cassiers. We will address themes such as globalization and its discontents, the interplay of music drama and visual technologies, and the contextual importance of serial novels such as those of Marcel Proust, Robert Musil, and Hermann Broch. Enrollment limited to 20 students.
Wed. 3:00-5:20 p.m. (M. Steinberg) Orwig 109

MUSC 1672 Hitler’s Gift
The flight of musicians from Europe in 1933-45 exile changed the face of Western music, and it changed them. Among them were many of the great musicians of the 20th century, including Bartok, Casals, Klemperer, Rubinstein, Schoenberg, Toscanini, and Weill. We examine patterns of emigration, settlement, and adaptation through memoirs, letters, essays, newspaper articles, biographies, recordings, and videos.
T,Th 2:30-3:50 p.m. (D. Josephson) Orwig 109

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. (C. Tucker) Orwig 109

MUSC 1905 Studies in Ethnomusicology
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. Enrollment limited to 15.
Wed. 12:30-2:50 p.m. (J. Titon/M. Perlman) Orwig 112

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.
Thurs. 4:00-6:20 p.m. (M. Perlman) Orwig 109

MUSC 2080 Seminar in Ethnomusicology
MUSC 2080A 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, multimedia installations, and popular music reception. Theoretical readings will be drawn from anthropology of the media, reception studies, and media design/production texts. Students will conduct ethnographic projects. Prerequisite: graduate standing or written permission.
Mon. 3:00-5:20 p.m. (K. Miller) Orwig 109

MUSC 2220 Designing 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. Students MUST register for a lab, and a lecture section.Instructor’s permission required.
M,W 2:00-3:20 p.m. (J. Rovan) Steinert 205
W (Lab) 3:30-4:50 p.m. (J. Rovan) Steinert 205

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. The course is also appropriate for students working on a graduate or undergraduate thesis project. Enrollment is limited. Written permission required. May be repeated for credit.
Fri. 1:00-3:50 p.m. (T. Winkler) Steinert 101

Performance Offerings - Fall 2010

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. (J. Rovan) 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. 6:00-9:00 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) Alumnæ 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.
Mon, Thurs 7:30-8:50 p.m. (M); 6:00-7:20 p.m. (Th) (M. McGarrell) Fulton Rehearsal Hall

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 limited to 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. (M. Perlman) 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 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

NEW BANNER NUMBER	Former #			Notes
MUSC 0010 Introduction to Western Music	MU0001
MUSC 0020 Popular Music & Society	MU0002
MUSC 0021 First Year Seminar	MU0021
MUSC 0030 History of Jazz	MU0036
MUSC 0040 World Music Culture (Africa, American, Europe, Oceania)	MU0005
MUSC 0041 World Music Cultures II (Middle East and Asia)	MU0006
MUSC 0042 Diaspora Music in the Americas	MU0007			(new World Music Cultures course)
MUSC 0050 Masters of Music	MU0030
MUSC 0051 Mozart	MU0030 S01
MUSC 0052 Beethoven	MU0030 S01
MUSC 0059 Jazz Masters	MU0039
MUSC 0060 Bluegrass, Country & Old Time Music	MU0008
MUSC 0061 Blues	MU0009
MUSC 0062 Musical Youth Cultures	MU0010			( new course in 8,9 10 series)
MUSC 0071 Opera	MU0037
MUSC 0075 Jazz and American Culture	MU0095
MUSC 0120 Words About Music: Discovering Music Through Writing	MU0012
MUSC 0200 Computers and Music	MU0011
MUSC 0210 Topics in Electronic Music & Multimedia	MU0086/0082
MUSC 0220, 21 Electroacoustic Improv Ensemble	MU0081, 82
MUSC 0400 Intro to Music Theory	MU0040
MUSC 0500 Thinking About Music	MU0050
MUSC 0550 Theory of Tonal Music I	MU0055
MUSC 0560 Theory of Tonal Music II	MU0056
MUSC 0600, 01 Chorus (Fall, Spring)	MU0061,62
MUSC 0610, 11 Orchestra	MU0063,64
MUSC 0620, 21 Wind Symphony	MU0065,66
MUSC 0630, 31 Jazz Band	MU0075,76
MUSC 0640, 41 Ghanaian Drumming	MU0067,68
MUSC 0650, 51 Javanese Gamelan	MU0068,69
MUSC 0660, 61 Sacred Harp				( new ensemble)
MUSC 0670, 81 Old Time String Band	MU0057,58
MUSC 0675, 76 Jazz Combos				NEW COURSE - not yet proposed
MUSC 0680, 81 Chamber Music Performance	MU0059,60
MUSC 0810 Applied Music Program	0071			plus section numbers for instruments
MUSC 0820 Applied Music Program	0072			plus section numbers for instruments
MUSC 0830 Applied Music Program	0073			plus section numbers for instruments
MUSC 0840 Applied Music Program	0074			plus section numbers for instruments
MUSC 0910 Medieval and Renaissance Music	MU0091
MUSC 0920 Baroque and Classic Music	MU0092
MUSC 0930 Romantic and Modern Music	MU0093
MUSC 1010 Advanced Musicianship I		MU0101
MUSC 1011 Advanced Musicianship II		MU0102
MUSC 1020 Modal Counterpoint		MU0103
MUSC 1030 Tonal Counterpoint		MU0104
MUSC 1040 Advanced Music Theory I		MU0107
MUSC 1050 Advanced Music Theory II		MU0108
MUSC 1060 Analysis & Performance		MU0109
MUSC 1070 Music After 1945		MU0110
MUSC 1100 Introduction to Composition		MU0141
MUSC 1110 Seminar in Composition		MU0142
MUSC 1120 Technique of Orchestration		MU0143
MUSC 1130 Jazz Composition & Arranging		MU0145
MUSC 1200 Seminar in Electronic Music: Recording Studio as Compositional Tool		MU0181
MUSC 1210 Seminar in Electronic Music: Real-Time Systems		MU0182
MUSC 1220 Interactive Installation		MU0186 S01
MUSC 1240 Topics in New Media Theory & Composition		MU0184
MUSC 1500 Major Masters and Repertoires of Music		MU0130
MUSC 1600 Music and Critical Theory		MU0131
MUSC 1610 Writing About Music		MU0132 S01
MUSC 1620 Seminar in American Music		MU0133 S01
MUSC 1622 American Musical Theater		MU0134 S01
MUSC 1630 Seminar in Music and Theatre		MU0134 S01
MUSC 1640 Seminar in Opera Studies		MU0135
MUSC 1650 Adorno Goes to the Opera		MU0137 S01
MUSC 1660 Seminar in Classic & Romantic Music		MU0137
MUSC 1661 Death and Dying		MU0137 S01
MUSC 1670 Seminar in 20th-Century Music		MU0138
MUSC 1671 Great Conductors		MU0138 S01
MUSC 1672 Hitler’s Gift		MU0138 S01
MUSC 1673 Interpreting Debussy		MU0138 S01
MUSC 1690 Seminar in Jazz Studies		MU0119
MUSC 1700 Score Reading and Conducting		MU0144 S01
MUSC 1710 Choral Conducting		MU0144 S01
MUSC 1720 Topics in Conducting		MU0144
MUSC 1810 Advanced Applied Music		0171		plus section numbers for instruments
MUSC 1820 Advanced Applied Music		0172		plus section numbers for instruments
MUSC 1830 Advanced Applied Music		0173		plus section numbers for instruments
MUSC 1840 Advanced Applied Music		0174		plus section numbers for instruments
MUSC 1900 Introduction to Ethnomusicology		MU0120
MUSC 1905 Studies in Ethnomusicology		MU0123
MUSC 1910 Music and Mind		MU0123 S01
MUSC 1920 Music & Modern Life		MU0126
MUSC 1930 Music of Indonesia		MU0169
MUSC 1931 Music of Ireland		MU0123 S01
MUSC 1932 American Roots Music		MU0129
MUSC 1933 Music of India		MU0127
MUSC 1940 Applied Ethnomusicology	MU0123 S01
MUSC 1950 Jazz Transcription & Analysis			MU0125
MUSC 1960 Advanced Ghanaian Drumming	MU0167
MUSC 1961 Advanced Ghanaian Drumming	MU0168
MUSC 1970 Individual Independent Study	MU0191, 192
MUSC 1980 Group Independent Study					NEW COURSE - not yet proposed
MUSC 1990 Senior Thesis					NEW COURSE - not yet proposed
MUSC 2000 History of Ethnomusicological Thought	MU0221
MUSC 2010 Field Research in Ethnomusicology	MU0222
MUSC 2020 Interpretation in Ethnomusicology	MU0223
MUSC 2030 Modernizing Traditional Music	MU0225 S01
MUSC 2040 Current Directions in Ethnomusicology	MU0226 S01
MUSC 2050 Musical Thinking	MU0225 S01
MUSC 2060 Musical Efficacy	MU0225 S01
MUSC 2070 Music and Identity	MU 0226 S01
MUSC 2080 Seminar in Ethnomusicology	MU 0225
MUSC 2090 Seminar in Ethnomusicology	MU 0226
MUSC 2100 Seminar in Music Theory	MU0228
MUSC 2200 Composition Seminar	MU0280
MUSC 2210 Digital Performance	MU0286 S01
MUSC 2220 Instrumentalities: Designing & Playing Alternate Controllers	MU0282
MUSC 2230 Composing for Real-Time Systems	MU0286
MUSC 2240 Improvising with Real-Time Systems	MU0286
MUSC 2250 Timbre as Form and Process	MU0287
MUSC 2260 Topics in Computer Music Theory & Analysis	MU0287
MUSC 2270 Topics in Digital Media Research & Production	MU0286
MUSC 2280 Designing Large-Scale Projects	MU0288
MUSC 2300 Seminar in Music and Culture		MU0230
MUSC 2600 Adorno’s Writings on Music	MU0229 S01
MUSC 2610 The Interface of the Aesthetic and the Ethical in Music
MUSC 2620 Seminar in Critical Theory	MU0229
MUSC 2970 Prelim Exam Prep	MU0289
MUSC 2980 Reading and Research	MU0291, 292
MUSC 2990 Thesis Preparation	MU0299