Spring Courses

Please check back for Spring 2018 classes.

100-01  Rudiments of Music MWF 9:00-9:50 Pratt Room 109
Larry Schipull
In this half-semester course students will become familiar with the elements of music notation (staves, clefs, pitch names, note and rest values) and with some of the basic skills necessary for college-level music instruction (e.g., construction and identification of scales, intervals, triads, and basic diatonic functions). Meets for only the first half of each semester.

131-01  Basic Musicianship MTWThF 9:00-9:50  Pratt Room 109 (TTh Labs in Warbeke Room)
Larry Schipull
Explores the ways in which sound is organized into musical structures. Topics include the physical properties of sound; the basic vocabulary of Western music (scales, key signatures, intervals, triads, rhythm, meter); and an introduction to musical form and analysis. Includes extensive practice in music reading, sight singing, ear training, and critical listening.

102 - Music and Technology  MW 1:15-2:30  Pratt Room 104
Robert Eisenstein
It is now possible to record, manipulate, notate, and compose music with a variety of powerful and flexible tools using the personal computer. This course will focus on hands-on experience with various sorts of music software, including recording and editing, mixing, synthesis and midi interfaces, notation, and various instructional programs. In the process of experimenting with these tools and operating on their favorite musical styles, students will learn a good bit of notation, ear training, and rudimentary principles of arrangement and composition. Basic computer literacy (such as comfort with basic editing commands and the concept of keyboard shortcuts) is required.      

103 - History of Jazz  TTh 11:30-12:45  Pratt Room 109
David Sanford               
This course will follow the origins and evolution of jazz from the late nineteenth century to the present, with emphases on prominent stylistic trends and significant individuals. Along with some analysis of the musical language jazz employs, the music will be examined in its relation to the social contexts that helped produce and shape it. The ability to read music is not a requirement for this course.

215/315 - Intermediate/Advanced Composition  TTH 1:15 - 2:30 Pratt Room 101
David Sanford              
Students will explore a number of musical styles and approaches in the process of creating their own extended works, with the possibility of performances a the end of the semester.

242/342 - Conducting I & II  TTh 2:40 - 3:55 Pratt Warbeke Room
Ng Tian Hui
Fundamentals of conducting: gestures, rehearsal techniques, study of representative short scores, and practice leading primarily choral ensembles. Videotaping, class recital.  Conducting II builds on fundamentals of conducting from Music 242. The course will include gestural vocabulary, moving fluently between choral and instrumental conducting, introduction to keyboard realization of scores, relationship between interpretation and conducting, and rehearsal preparation. The conducting class forms the core of the ensemble for the class.

229 - African Popular Music  MW 1:15-2:30 Pratt Room 101
Bode Omojola
This course examines selected genres and their relationships to the political and social dynamics of their respective national origins. Regional examples like highlife, soukous, chimurenga, and Fela Anikulapo-Kuti's Afro-beat will provide the basis for assessing the significance of popular music as a creative response to the African colonial and postcolonial environment. The course also discusses African hip-hop music by exploring how indigenous cultural tropes have provided the basis for its local appropriation. Themes explored include music and identity; music, politics, and resistance; interaction of local and global elements; and political significance of musical nostalgia. Students' final projects for this class could be in form of live performances or paper presentations focusing on any genre or aspect of African popular music.

231 - Theory I  MWF  10-1:50  Pratt Room 109     
Larry Schipull
Studies two part counterpoint, four part harmony (part-writing, inversions, harmonization, figured bass and non-harmonic tones) and composition of simple period forms. Includes analysis, ear training, solfege, use of notation software and keyboard harmony.  
231 - Theory I Lab   TTh    10-10:50 Pratt Warbeke Room 
Larry Schipull            

282 - History II  TTh  11:30-12:45 Pratt Room 103
Adeline Mueller  
The second in a three-semester survey of Western music history, Music 282 examines the cultures of art music in Europe and the Americas from 1700-1900, focusing on the evolution of styles and genres and the changing roles of composers, performers, and audiences.

321 - Art, Music and the Brain  1:15-4:05 Pratt Warbeke Room
Linda Laderach/Mara Breen 
Art and music are a part of all human cultures. Is there something about the human brain that drives us to paint and sing? We will examine how the brain simultaneously processes different aspects of visual and auditory stimuli, ask how this processing may affect the way we do art and music, and explore where these phenomena may occur in the brain. As we engage in discussion and hands-on activities, we will discover the commonalities between the arts and the sciences including practice, experimentation, exploration, innovation, and creativity.

334 - Music Analysis  W 1:15-4:05 Pratt Room 103
Adeline Mueller           
The course begins with an overview of the ways music analysis informs, and is informed by, other disciplines of musical inquiry: history, criticism, etc. The course culminates in an application of various analytic approaches to a small group of related works within the Western art music tradition. This year the topic will be Mozart's Operas, and we will study three works that exemplify the three main operatic genres in which Mozart worked: opera seria (Idomeneo), opera buffa (The Marriage of Figaro), and Singspiel (The Magic Flute).