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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
- Selig
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Cole
- 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
- Perlman
- 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
- Selig
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Cole
- 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
- Perlman
- 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
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Cole
- Schedule Code
- I: Independent Study/Research
- Primary Instructor
- Momeni
- 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
- 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
- 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
- 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
- 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
- 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: Grad Enrollment Fee/Dist 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: Grad Enrollment Fee/Dist Prep
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Popular Music and Society in Latin America
This course examines how Latin American musics shape, and are shaped by, their social environment and the political histories of their homelands. Focusing especially on Cuban and Andean styles, it explores the way that sounds connect with the lived experiences of local audiences, the artistic and political goals that have motivated key performers, and the effect of their actions on broader social debates. Issues covered include the relationship between music, race, and national identity; sound as a medium for social politics; the roles of industrialization, migration, urbanization, and media dissemination in driving musical change. Enrollment limited to 19 first year students.
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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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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.
- Primary Instructor
- Steinbach
- Primary Instructor
- Cole
- Schedule Code
- L: Lab
- Primary Instructor
- Cole
- Schedule Code
- L: Lab
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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 or MUSC 0570, or permission of the instructor.
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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 MUSC 0570 or permission of the instructor. Enrollment limited to 20 students.
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Rap as Storytelling
This is a weekly production seminar in which students will explore various aspects of hip hop songwriting from the perspective that rap verses can constitute compelling stories. Over the course of the semester we will examine several different storytelling approaches, song structures, and techniques through deep listening sessions, class discussions, and lectures from a range of invited guests. Students will be expected to record verses or parts of verses as part of their weekly writing assignments as well as perform prepared material for their classmates at three points during the semester.
- Primary Instructor
- Lumumba-Kasongo
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Advanced Music Theory II
A study of theories of Western art music since Debussy. Exercises in analysis and composition, focusing on works of Debussy, Stravinsky, Schoenberg, Webern, Bartok and Ives. Students give presentations on selected later composers. Prerequisite: MUSC 0560 with grade of B, or the equivalent.
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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
- Primary Instructor
- Winkler
- 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.
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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.
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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.
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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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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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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.
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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.
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Opera
A survey of the history, aesthetics, and politics of opera from 1600 to the present day. Analyzes operas and scenes by Monteverdi, Purcell, Mozart, Rossini, Verdi, Wagner, Strauss, and others. Ability to read music not required.
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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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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.
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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.
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Issues of Time and Space in New Music
Time and space in music are rich and complex subjects of study. This seminar examines how these concepts complement and intertwine with one another in the music of contemporary composers such as Murail, Xenakis, and Brant. We will explore how composers have attempted to redefine musical temporalities and how they create acoustic and environmental spaces. We will consider how space is orchestrated, ways of engaging with the physicality of instruments, and how composers can use electronics to further convey and manipulate space and dimensionality. This seminar also considers the ways new experiments with increasingly complex timbral palettes changed compositions.
