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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
- Goldstein
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Finkel
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Plouffe
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Reddy
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Rovan
- Schedule Code
- I: Independent Study/Research
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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
- Goldstein
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Finkel
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Plouffe
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Reddy
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Rovan
- Schedule Code
- I: Independent Study/Research
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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.
- Primary Instructor
- Warren
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Cheung
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Cole
- Schedule Code
- I: Independent Study/Research
- Schedule Code
- I: Independent Study/Research
- 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
- Seto
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Rovan
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Nathan
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Dolan
- 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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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
- Cheung
- 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
- Greenlee
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Rovan
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Warren
- Schedule Code
- I: Independent Study/Research
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Dolan
- 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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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: Graduate Thesis Prep
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Thesis Preparation
For graduate students who have met the residency requirement and are continuing research on a full time basis.
- Schedule Code
- E: Graduate Thesis Prep
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The Technique of Orchestration
The study of orchestration includes the ranges, sounds, and idiosyncrasies of the individual instruments, and the combination of those instruments into ensemble textures. A series of graduated assignments, including pieces for solo cello, string quartet, wind quintet, wind ensemble, and full orchestra, form the basis of this course. Prerequisite: MUSC0560 or permission of the instructor. Not open to first year students.
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Music in China Since 1900
From the early 20th century until now, war, political movements, ideological and cultural shifts, and later economic booms have dramatically impacted music and musical life in China. This course examines various genres of music in China, both native and imported, including traditional instrumental music, propaganda songs, opera, ballet, standard and contemporary classical music, pop music, and communal activities like amateur choruses and calisthenics. This course will exercise critical listening and thinking and comparative analysis skills, with a mix of source readings, recordings, and historical background. No background in music or Chinese history is required.
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From the Blues to Beyoncé: Popular Music in the U.S.
This course seeks to view U.S. cultural and social history of the last century through the lens of popular music. We will investigate the history popular music from its roots in the early twentieth-century to the present. We will examine the social, cultural and political contexts that gave birth to various genres of popular music by exploring the music through the lenses of race, class, gender, sexual orientation, advances in technology, and developments in the music business. No musical background is required. There are conference sections for this course that meet every week.
Please visit the course Canvas page for specific instructions on how to attend the first class. Students must fill out a course enrollment questionnaire on the Canvas course page which will determine enrollments in the course and conference sections. If applicable, a wait-list will be created at that time only. Pre-registration is not available for this course. There will be no wait-list created in advance of the first class.
- Primary Instructor
- Nathan
- Primary Instructor
- Freeze
- Schedule Code
- C: Discussion Section/Conference
- Primary Instructor
- Freeze
- Schedule Code
- C: Discussion Section/Conference
- Primary Instructor
- Freeze
- Schedule Code
- C: Discussion Section/Conference
- Primary Instructor
- Chinilina
- Schedule Code
- C: Discussion Section/Conference
- Primary Instructor
- Chinilina
- Schedule Code
- C: Discussion Section/Conference
- Primary Instructor
- Chinilina
- Schedule Code
- C: Discussion Section/Conference
- Primary Instructor
- Loomis
- Schedule Code
- C: Discussion Section/Conference
- Primary Instructor
- Loomis
- Schedule Code
- C: Discussion Section/Conference
- Primary Instructor
- Loomis
- Schedule Code
- C: Discussion Section/Conference
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Seminar in Composition
This is a seminar-based course with a creative component focusing on specific compositional techniques such as writing transitions and motivic development, and writing for specific kinds of ensembles. These techniques are applicable to all kinds of music, from concert music to popular genres. The course will also address aesthetic issues, trends and influences and how they affect living composers’ individual voices. Besides studying notated repertoire from the concert tradition, we will also examine approaches to film scoring, improvisation, and environmental sound worlds outside of the traditional concert hall.
- Primary Instructor
- Vistein
- Schedule Code
- C: Discussion Section/Conference
- Primary Instructor
- Vistein
- Schedule Code
- C: Discussion Section/Conference
- Primary Instructor
- Vistein
- Schedule Code
- C: Discussion Section/Conference
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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.
- Primary Instructor
- Rovan
- Schedule Code
- L: Lab
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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.
- Primary Instructor
- Rovan
- Schedule Code
- L: Lab
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Designing Large-Scale Projects
A production seminar designed for students to create a single, large project in Multimedia, Video, Performance and/or Electronic Music. The course covers planning and implementation strategies, including brainstorming sessions, visual storytelling, and sketching. Each project receives group feedback at several points in the process, such as initial proposals, prototype presentations and work-in-progress. The proposal includes an annotated bibliography of research materials that students present on in class. The course culminates a public presentation of the projects. The class is open to graduate students and seniors working on a capstone or thesis project. Permission will be granted after the first class.
- Primary Instructor
- Winkler
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Jazz and Pop Harmony
For students with knowledge of rudiments of music, including scales, intervals, key signatures, rhythm and meter. Keyboard skills strongly recommended. Intensive study of chord scales, chord progressions, modulation, voice leading, melody writing, harmonization, reharmonization, chord symbols, and lead sheet construction. Lab sessions will focus on ear training, keyboard exercises, and sight singing. Emphasis will be on the vocabulary of jazz theory and the repertoire will be American popular song.
** Please note prerequisite for this course: MUSC 0550 Music Theory I **
- Primary Instructor
- Tomassi
- Primary Instructor
- Sanfilippo
- Schedule Code
- L: Lab
- Primary Instructor
- Sanfilippo
- Schedule Code
- L: Lab
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Recording and Sound Design Techniques
Music 1200 is a rigorous study of music production 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 sound engineering fundamentals. Class size is limited and some prior experience with digital audio workstations is expected. Preference will be given to students who have successfully completed MUSC 0200 and are active in the music department. Admission is determined by an entrance questionnaire completed at the first class meeting.
- Primary Instructor
- Moses
- Schedule Code
- L: Lab
- Primary Instructor
- Moses
- Schedule Code
- L: Lab
- Primary Instructor
- Moses
- Schedule Code
- L: Lab
- Primary Instructor
- Moses
- Schedule Code
- L: Lab
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Analysis and Performance of Music
Study of the implications of musical analysis for performance. Students prepare solo or chamber works for performance in a formal concert presented at the end of the course. Focuses on problems of interpretation and their resolution through analysis of musical structure. Short analytical assignments and an extended analytical project required. Prerequisite: MUSC 0560 or permission of the instructor and proficiency on a musical instrument.
Students who have taken MUSC0570, please contact instructor to discuss admission.
- Primary Instructor
- Steinbach
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Theory of Tonal Music II
See Theory Of Tonal Music (MUSC 0550) for course description. Prerequisite: MUSC 0550 or permission of the instructor.
- Primary Instructor
- Steinbach
- Primary Instructor
- Welch
- Schedule Code
- L: Lab
- Primary Instructor
- Welch
- Schedule Code
- L: Lab
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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.
Please note that conference time may be adjusted depending on availability of TA and students enrolled.
- Primary Instructor
- Obeng
- Primary Instructor
- Obeng
- Schedule Code
- C: Discussion Section/Conference
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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.
Please note that conference time may be adjusted depending on availability of TA and students
- Primary Instructor
- Obeng
- Primary Instructor
- Obeng
- Schedule Code
- C: Discussion Section/Conference
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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.
Please note that conference time may be adjusted depending on availability of TA and students
- Primary Instructor
- Obeng
- Primary Instructor
- Obeng
- Schedule Code
- C: Discussion Section/Conference
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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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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.
- Primary Instructor
- Astrausky
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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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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
- Plouffe
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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.
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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
- Tomassi
- Primary Instructor
- Tomassi
- Primary Instructor
- Tomassi
- Primary Instructor
- Tomassi
- Primary Instructor
- Tomassi
- Primary Instructor
- Tomassi
- Primary Instructor
- Tomassi
- Primary Instructor
- Tomassi
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Music, Nature, Ecology
Explores how music mediates human relations to the natural world. Via case studies drawn from Western and non-Western societies, we will examine how theorists use sound to think through the difference between humans and non-humans; how composers and soundscape artists like Grieg, Ives, Westerkamp, and John Luther Adams shape listeners’ perceptions of natural worlds and ecological systems; how people in Papua New Guinea, Mongolia, and the Bolivian Andes use sound to coordinate ecological awareness; how instruments are implicated in human relationships with the environment; and the ways that sound art helps to challenge longstanding distinctions between nature and its others.
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Seminar in Ethnomusicology: Sound Studies
Explores sound studies through readings of exemplary texts and discussions of the key debates that enliven this interdisciplinary field of inquiry. Drawing on philosophical, musicological, anthropological, and other kinds of writings, it explores issues like the way that relations between sound, noise, silence, and music have formed in different cultures and different historical periods; ideological structures that determine the place of sound in artistic practice and in everyday life; the power relations that are implicated in the design of local soundscapes; and the place of aural perception within the sensorium, among other potential topics. Enrollment limited to graduate students.
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Black Movement Music
This course surveys the music of black Americans through the lens of movements. In this course, examining the history of African American music unveils a centuries-long plotline woven with protestations and peregrinations. The course charts the history of African American music by tracing key movements African American history—both geographical relocations and political and artistic uprisings and outcries. This course orients the student to the history and study of black popular music. This course traces black American music from the songs of the enslaved, through the music of the Great Migration, Harlem Renaissance, civil rights movement, and black arts movement to hip hop and the Black Lives Matter movement. The course introduces seminal texts and preeminent scholars along the way.
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Social Justice and the Musical Afrofuture
Afrofuturism is an Afrocentric aesthetic and politics drawing from African cultures and science fiction. This course surveys black American Afrofuturist music as works of social justice activism through imagination and representation of alternative cosmologies, epistemologies, and politics of black life. Students will examine the works of artists such as Sun Ra, George Clinton, Erykah Badu, Missy Elliott, and Janelle Monáe. Students will also study Afrofuturist music and sound in films such as Coming to America (1988), Get Out (2017), and blockbuster Black Panther (2018), and its soundtrack. Classes include discussion of audio/video recordings, other primary source material, and secondary texts.
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Seminar In Sonic Practice
This studio and seminar course provides an exploration of contemporary sonic practice, facilitates the development of sound-based creative work, and encourages a critical approach to producing work in the field. Through discussion, reading, listening exercises, independent research, creative production and critiques, we will examine a number of intersecting areas of sonic practice including sound as a cultural, environmental, and artistic medium, phonography, sound installation, mobile audio, noise as strategy and material, linguistic and other sonic narrative structures. Students will develop sound-based pieces individually and in groups which function as creative research into the subjects areas of the course.
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Introduction to Music Theory
An introduction to musical terms, elements, and techniques. Topics include notation, rhythm and meter, intervals, scales, chords, melody writing, harmonization, and form. Students will develop their musicianship skills, including sight-singing and keyboard, in labs which meet twice weekly. No prior musical experience is necessary. MUSC 0400A or 0400B may fulfill part of the theory requirement for the music concentration. Enrollment limited to 40. Permission granted based on questionnaire given in first class. Preference given to lower-level students.
- Primary Instructor
- Welch
- Schedule Code
- L: Lab
- Primary Instructor
- Welch
- Schedule Code
- L: Lab
- Primary Instructor
- Welch
- Schedule Code
- L: Lab
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Introduction to Popular Music Theory and Songwriting
An introduction to musical terms, elements, and techniques, with an emphasis on how they apply to Western popular music. Topics include notation, rhythm and meter, intervals, scales, chords, melody writing, harmonization, and form. Students will develop their musicianship skills, including sight-singing and keyboard, in labs which meet twice weekly. No prior musical experience is necessary. MUSC 0400A or MUSC 0400B may fulfill part of the theory requirement for the music concentration. Enrollment limited to 40. Permission granted based on questionnaire given in first class. Preference given to lower-level students.
- Primary Instructor
- Tan
- Schedule Code
- L: Lab
- Primary Instructor
- Tan
- Schedule Code
- L: Lab
- Primary Instructor
- Tan
- Schedule Code
- L: Lab
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Advanced Musicianship II
Continuation of MUSC 1010. Prerequisite: MUSC 1010 or permission of the instructor.
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Operatic Sexualities: Richard Strauss and Giacomo Puccini
The two most significant opera composers of the twentieth century are also the heirs of the fin de siècle around 1900: its mix of political crisis and modernist invention and its introduction of the unconscious and sexuality into scientific, artistic, and political debate. From Tosca (1900) to Capriccio (1942), Giacomo Puccini and Richard Strauss produced a long series of operas whose music and drama set erotic energies against the constraints of real and imagined worlds. We will listen closely and comparatively to select operas in the context of primary texts as well as recent work in opera studies, gender and sexuality studies, psychoanalysis, and political theory.
- Primary Instructor
- Steinberg
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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.
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Theory of Tonal Music I
Intensive study of the building blocks of tonal music traditions including western and popular music with focus on melody, harmony, counterpoint, keyboard skills, ear training, sight-singing from musical notation, and composition. Prior keyboard experience helpful but not required. A required placement exam is administered at first class meeting. Students who do not have experience reading music notation should take MUSC 0400 prior to MUSC 0550. MUSC 0550 is a prerequisite to many music courses and is a requirement for the music concentration.
A required placement exam will be administered during the first course meeting. Students must pass the placement exam to be admitted to the class.
- Primary Instructor
- Tan
- Primary Instructor
- Welch
- Schedule Code
- L: Lab
- Primary Instructor
- Welch
- Schedule Code
- L: Lab
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1000 Years of Listening: Stories from the History of Western Art Music
This course aims to introduce you to a variety of music and a range of ways of listening to, and thinking, talking, and writing about music. The majority of music dealt with will be drawn from the so-called “Classical” repertory, from the medieval period to the present day. We cover canonic favorites, but we will also explore music you may have never have encountered before. We will become familiar with the technical workings of music, while at the same time thinking about—and rethinking—some of the stories we tell about the history of Western art music. This is a tradition which has kept some musics alive across centuries, but it has also excluded many voices. In this class, we will think about the idea of the musical canon, what it offers, and how it might change.
- Primary Instructor
- Hardan
- Schedule Code
- C: Discussion Section/Conference
- Primary Instructor
- Hardan
- Schedule Code
- C: Discussion Section/Conference
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Intercultural Composition
For centuries, European and North American composers have taken an interest in the music of other societies (as well as the music of subaltern groups in their own countries). This has produced many examples of musical exoticism and Orientalism, but occasionally composers seeking a deeper encounter with the musical Other have engaged in more serious study of other traditions. Meanwhile, Western-trained composers from other countries (in Asia, Africa and South America) have attempted to blend traditions in their own ways. Less often, composers have collaborated with performers or composers from other traditions. All of these initiatives have been criticized from both aesthetic and ethical points of view. After reviewing the history of Western musical exoticism we'll examine case studies from Gershwin to Ligeti and Bartok to Tan Dun. Though focusing on art music we'll also consider examples from jazz.
- Primary Instructor
- Perlman
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Experiencing World Musics
This course is designed to introduce the musician trained in Western styles (e.g. classical, jazz) to some uses of pitch, time and form that are employed in other traditions, including tuning systems, scales, modes, chords, rhythms, meters and formal schemata and processes. There will be readings and lectures on the musics of India, Southeast Asia, West and Central Africa, Iran, the Caucasus, Turkey, and Southeastern Europe, but the emphasis will be on experiential learning: learning to hear, distinguish, reproduce, and create the various pitch, rhythmic and formal structures and processes typical of those traditions but absent from most Western musical training. The course is designed for Music concetrators but anyone who can read standard staff notation may enroll; there are no other prerequisites.
- Primary Instructor
- Perlman
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MEME Ensemble: Ordinary Improvisation
MEME ensemble is a course in improvisation committed to theory and praxis. Drawing on historical and contemporary strategies of improvisation the course seeks to help structure the development of sonic practice. Participants will play, conduct, and compose with and for the ensemble during all class meetings. Throughout the semester, guest artists will join to participate and share their work. The semester culminates in a public performance devised and performed by the ensemble. One reason the course is ordinary is that in cultivating verdant experimental space we do not wish to sever our relationship with the world outside. In this spirit, we bring any sort of ‘instrument’ from life to ensemble. A non-exhaustive typology of ideal participants would include instrumentalists, movement artists, language artists, controllerists, noisers, jammers, producers, actors, singers, sculptors, coders, jazzers, circuit-benders, pots and panners, conductors, and composers.
- Primary Instructor
- Sokolov-Gonzalez
