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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 DPLL WRIT
- Primary Instructor
- McGarrell
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Stephen Sondheim and the American Musical
This seminar considers the theater shows of Stephen Sondheim in relation to the history of the American musical. Through close study of selected scenes and shows, we examine how and why Sondheim and his collaborators “reinvented” the genre. Special emphasis will be given to Sondheim's critical skepticism concerning the myths, characters, and ethos of social optimism that have been central to the Broadway tradition. We examine links between the shows and post-WWII historical contexts, and consider the political implications of the circumscribed social universe—predominantly white, urban, and affluent—within which most of his shows take place. FYS
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Computers and Music
Examine the history, literature, production and theory of music technology. Track development of musical inventions and their impact on musical thought, production and culture. Develop theoretical and practical knowledge of computer music based on first-hand experience in the Multimedia Lab, using computer music software and hardware to complete creative assignments. Gain an appreciation for the pioneering work done in previous decades, both in research and composition. Become familiar with the literature of electronic music and learn about the impact of technology on popular and experimental genres. Permission granted based on questionnaire given in first class. Preference given to lower-level students.
- Primary Instructor
- Winkler
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Electroacoustic Improv Ensemble
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. Enrollment limited to 12 students; by audition.
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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.
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Theory of Tonal Music
Prerequisite to music concentration. For students with knowledge of rudiments of music, including scales, intervals, key signatures, rhythm, and meter. Knowledge of keyboard strongly recommended. Intensive study of voice leading and tonal harmony; analysis, ear training, sight singing, keyboard exercises. An entrance exam will be administered in Orwig 315 at the first regular class meeting. Students intending to enroll in MUSC 0550 must pass this test. Experienced instrumentalists or singers who have facility sight reading music normally place into MUSC0550. MUSC0400 is appropriate for students who need training in the rudiments to prepare for MUSC0550. MUSC0550 is prerequisite to MUSC0560.
- Primary Instructor
- Steinbach
- Primary Instructor
- Cole
- Schedule Code
- L: Lab
- Primary Instructor
- Cole
- Schedule Code
- L: Lab
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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. Enrollment is by audition, based on voice quality, experience, and music-reading ability. Instructor permission required.
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Orchestra
Half credit each semester. A practical study of the orchestra repertory from Bach to the present, offered through coaching, rehearsals, and performances. Enrollment is by audition. Students will be notified of audition results within the first seven days of the semester. Restricted to skilled instrumentalists. May be repeated for credit.
- Primary Instructor
- Phillips
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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 is by audition. Restricted to skilled instrumentalists. Instructor permission required.
- Primary Instructor
- McGarrell
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Jazz Band
Half credit each semester. A practical study of jazz from the 1920s to the present through coaching, rehearsals, and performance. Seminars on arranging, ear training, and improvisation are conducted for interested students but the focus is on performance. Enrollment is by audition. Restricted to skilled instrumentalists and vocalists. Instructor permission required.
- Primary Instructor
- McGarrell
- Primary Instructor
- McGarrell
- Primary Instructor
- McGarrell
- Primary Instructor
- McGarrell
- Primary Instructor
- McGarrell
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Ghanaian Drumming and Dancing Ensemble
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. Instructor permission required.
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World Music Ensemble
This ensemble focuses on global percussive and song traditions, especially those of the African diaspora (based on instructor's vast musical experiences). Here western instrumentalists fuse with traditional musicians from every culture: bongo, gyil, ukulele, tabla, etc. Students will grow and develop their musical skills by learning new techniques on their own instrument, exploring a range of repertoire representing genres such as highlife, reggae, salsa, afrobeat, Afro-jazz, and global fusions. There will be unique opportunities to work on improvisation taking influence from Steve Reich, Tito Puente, Randy Weston, Hugh Masekela, Paul Simon, Miriam Makeba, Ghanaba, and Milton Nasimiento. DPLL
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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 may participate on instructor approval. Enrollment limit 20.
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Javanese Gamelan
Half credit each semester. Instruction, rehearsals, and performances in the gamelan music of Java, on instruments owned by the department. No prerequisites. Enrollment limited to 18 students.
- Primary Instructor
- Perlman
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Old-Time String Band
Half course each semester. Instruction and ensemble playing. Music taught by ear. American (southern Appalachian Mountain) traditional music on violin (fiddle), 5-string banjo, mandolin, and guitar. Enrollment limited to 20 students.
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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 is by audition. Students will be notified of audition results within the first ten days of the semester. Restricted to skilled instrumentalists. May be repeated for credit.
- Primary Instructor
- Phillips
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Applied Music Program: Instruction in Vocal or Instrumental Music - Voice
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. May be repeated up to four times for credit.
- Primary Instructor
- Jodry
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Cole
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Phillips
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- McGarrell
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Perlman
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Rovan
- Schedule Code
- I: Independent Study/Research
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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.
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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 with a grade of B, or the equivalent.
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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.
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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.
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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.
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Major Masters and Repertoires of Music: Bach
An examination of the life and work of Bach, including its placce in German church music, views of his contemporaries and explanation of hi manuscript and publishing history.
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Applied Music Program: Instruction in Vocal or Instrumental Music - Voice
Half credit each semester. Restricted to skilled musicians. 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. MUSC 0830, 0840 is prerequisite to this course. A fee is charged for enrollment. Copies of the Applied Music Program Guidelines giving detailed information are available online at www.brown.edu/music. Prerequisite: MUSC 0400, or MUSC 0550, MUSC 0560. Written permission required. May be repeated up to four times for credit.
- Primary Instructor
- Jodry
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Cole
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Phillips
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- McGarrell
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Perlman
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Rovan
- Schedule Code
- I: Independent Study/Research
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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.
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From Cumbia to Carnavalito: Music in the Andean Countries
This course provides an introduction to the music of South America’s Andean countries. Through texts, listenings, and hands-on instruction, students will explore the social histories and stylistic principles of genres like Colombian and Peruvian cumbia, Afro-Peruvian festejo and landó, Chilean nueva canción, and the sikuri and huayno music of South Andean Quechua and Aymara peoples. Class sessions balance cultural analysis with opportunities to play, and students are expected to develop some facility with key songs and rhythms. No experience is necessary, though inexperienced musicians can expect to focus on instrumental or vocal parts that present a lower bar to participation.
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Advanced Ghanaian Drumming and Dancing Ensemble
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. Instructor permission required. Enrollment limited to 15 students.
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Individual Independent Study
Directed undergraduate research for advanced students. Prerequisite: permission of the instructor. Section numbers vary by instructor. Please check Banner for the correct section number and CRN to use when registering for this course.
- Schedule Code
- I: Independent Study/Research
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Cole
- Schedule Code
- I: Independent Study/Research
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- McGarrell
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Obeng
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Perlman
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Phillips
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Rovan
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Nathan
- Schedule Code
- I: Independent Study/Research
- Schedule Code
- I: Independent Study/Research
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Winkler
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Moses
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Miller
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Tucker
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Steinbach
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Jodry
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Osborn
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Gooley
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Wang
- Schedule Code
- I: Independent Study/Research
- Schedule Code
- I: Independent Study/Research
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Music and Identity
From 19th-century European nationalism to 20th-century American multiculturalism, people have used music to affirm their identities. Drawing on anthropological and sociological theory, we examine the variety of connections between music and identity in several case studies. We consider the possible contributions of music to cross- cultural understanding, and discuss the ethics of musical border- crossing.
- Primary Instructor
- Perlman
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Ethnography of Popular Music
This seminar explores ethnographic work on popular music, including scholarship rooted in ethnomusicology, sociology, and performance studies. We will discuss case studies from around the world and will compare contemporary ethnographic research with other approaches to popular music (e.g., Frankfurt School critical theory, Birmingham School cultural studies, and text-oriented popular music studies). Prerequisite: graduate standing or written permission.
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Interdisciplinary Perspectives in Ethnomusicology
Ethnomusicology has always been interdisciplinary, and is becoming more so. The student today may encounter concepts from semiotics, linguistics, cultural studies, literary theory, political economy, sociology, cognitive psychology, media studies, sound studies, science and technology studies, organizational studies, and material culture studies, and other disciplines as well. We will examine some of the key concepts of these fields and consider their possible uses in the study of the performing arts. From ‘affordances’ to the ‘type/token distinction,’ from ‘actor-network theory’ to the ‘third-person effect,’ we will learn to apply (and criticize) concepts presupposed by much current socio-cultural theorizing.
- Primary Instructor
- Perlman
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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.
- Primary Instructor
- Winkler
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Timbre in Electroacoustic Music
We will investiage the topic of timbre in electroacoustic music though
both analysis and composition. We will study musical compositions in
various media (acoustic and electronic) that use timbre in various
ways, scholarly writing that looks in more depth at compositional
processes involving timbre (such as in Spectral music), and various
software programs that can assist in analysis and composition.
Students will compose new works for electronics alone, as well as for
guest solo performers with interactive electronics to be performed in
a public concert. Enrollment limited to 8. Permission required for
undergraduates.
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Critical Improvisation Studies
Advanced seminar exploring improvisation from various perspectives: historical, anthropological, philosophical, ethical, and creative. We study improvisation in diverse musical traditions, in other arts, and in problem-solving contexts such as business, technology, and games. Discussion topics include individual vs. group improvisation, the status of "freedom" in creative processes, and the social and artistic functions of improvisation. Instructor permission required.
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Preliminary Examination Preparation
For graduate students who have met the tuition requirement and are paying the registration fee to continue active enrollment while preparing for a preliminary examination.
- Schedule Code
- E: Grad Enrollment Fee/Dist Prep
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Reading and Research
Directed graduate research. Section numbers vary by instructor. Please check Banner for the correct section number and CRN to use when registering for this course.
- Primary Instructor
- Nathan
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Wang
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Cole
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Osborn
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- McGarrell
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Obeng
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Perlman
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Phillips
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Rovan
- Schedule Code
- I: Independent Study/Research
- Schedule Code
- I: Independent Study/Research
- Schedule Code
- I: Independent Study/Research
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Winkler
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Moses
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Miller
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Tucker
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Jodry
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Gooley
- Schedule Code
- I: Independent Study/Research
- Schedule Code
- I: Independent Study/Research
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Thesis Preparation
For graduate students who have met the tuition requirement and are paying the registration fee to continue active enrollment while preparing a thesis.
- Schedule Code
- E: Grad Enrollment Fee/Dist Prep
