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Music

Applicable for the 2014-2015 academic year.

Music Website

Professors AGEE, BEN-AMOTS (chair), M. GRACE, LEVINE; Assistant Professor BAÑAGALE; Artist-in-Residence S. GRACE (associate chair); Lecturer D. BRINK; Visitors SCHORMANN; Riley Scholar-in-Residence HOFER

Major Requirements

All students who wish to major in music must complete the following seven core block courses: MU392, MU393, MU411, MU412, MU315, MU316, and either MU301 or MU399. Two additional elective block courses must be completed from the department offerings, at least one of which is 200-level or above; one unit of MU150; one unit of any music FYE can be applied toward the major. MU199 Pre-Theory may not be used toward the major.

All music majors must complete an integrative capstone experience by taking MU435 Senior Seminar during their senior year. Seniors will sign up for MU401 or MU402 in preparation for the Capstone Colloquium in Block 6 of the senior year.

All music majors must complete one unit (four semesters) of vocal or instrumental studio performance. In addition, all majors are required to complete one unit (four semesters) of ensemble performance. One semester of the ensemble requirement must be World Music (Balinese gamelan or bluegrass ensemble) taken before or during MU393. Majors must satisfy the piano proficiency requirement as follows: all major and minor scales, one Bach two-part invention or the first movement of a classical sonatina, one Chopin prelude, and one 20th-century work of at least intermediate difficulty. This requirement should be completed no later than the beginning of the junior year. Four semesters of piano lessons at Colorado College fulfills this requirement.

Majors must fulfill the basic music computer requirement by taking MU200 or demonstrate computer literacy through examination. The ETS Major Field Test in Music must be successfully completed in the senior year. Music majors who plan to satisfy state teaching certification requirements should consult with the CC Education Department as early as possible in their college career.

During the academic year the department will sponsor a series of performances by faculty and student ensembles and soloists, as well as extended visits by distinguished visiting artists. Upon declaration, music majors must attend 10 such department-approved concerts per semester to broaden their understanding of the joys and challenges of the concert world and to gain a deeper understanding of performance and literature.

Departmental distinction at graduation for seniors will be awarded on the criteria of performance in departmental courses, the senior capstone project, and participation and presence in the life of the department.

MUSIC MAJOR ADVISING CHECKLIST

CORE BLOCK REQUIREMENTS FOR ALL MAJORS:

MU392 (Theory I: Introduction to Counterpoint and Diatonic Harmony)  
MU393 (Comparative Music Theory)  
MU411 (Theory II: Advanced Diatonic Harmony)  
MU412 (Theory III: Chromatic Harmony)  
MU315 (History I: Ancient-Medieval-Renaissance-Baroque)  
MU316 (History II: Classical-Romantic-20th c. through 1945)  
MU301 or MU399 Music since 1945, with a creative component  

ELECTIVES

Two additional elective units, one of which must be at the 200-level or above.

Please note: only one unit of MU150 or any music FYE can be applied to the major. MU199 Pre-Theory may not be used toward the major.

 

ADDITIONAL REQUIREMENTS (SENIOR YEAR)

MU401 or 402 must be taken in conjunction with the Senior Seminar in preparation for the Capstone Colloquium in Block 6 of the senior year.

 

MU435 Senior Seminar

 

PERFORMANCE REQUIREMENTS:

One unit of studio performance (four semesters)

 

One unit of ensemble performance (four semesters)

 
One semester of the above ensemble requirement must be World Music (Balinese gamelan or bluegrass ensemble) taken before or during MU393  
Piano proficiency requirement (should be completed before the junior year)  
Computer proficiency (MU200 or exam)  
Successful completion of ETS Major Field Test in Music (in senior year)  

Music majors must attend ten (10) department-approved concerts per semester. Programs from each concert must be signed and submitted to the Music Department office.

The Music Department recommends that all music majors complete the Core Requirements by the end of the junior year. Music majors should consult with their academic advisors concerning elective courses for further study in the major areas of the field, such as ethnomusicology, history and literature, music education, performance, and theory/composition.

Minor Requirements

A minimum of six units of course work in the Music Department, including five required units in the following categories: theory/composition, Western music history, ethnomusicology/world music, American/popular/music technology, and performance. One additional elective from any of these five categories is required, as well as regular concert attendance as described below.

  1. One unit in Music Theory or Composition, for example, MU199 Pre-Theory, MU301 Composition, MU392 Music Theory I (or subsequent courses in the theory sequence), MU399 Experimental Music, MU425 Advanced Composition and Orchestration, or other department-approved courses.
  2. One unit in Western Music History for example, MU150 Music in Western Culture, MU204 From Mozart to Mahler, MU207 Opera, MU210 Splendor of the Baroque, MU212 Mozart and his Age, MU223 Beethoven, MU315 Music History I, MU316 Music History II, or other department-approved courses (including MU227 and MU228 “topics” courses).
  3. One unit in Ethnomusicology or World Music for example, MU221 or MU222 Topics in Ethnomusicology, MU290 American Indian Music, MU291 Southwest American Indian Music, MU295 Indonesian Music, MU202 Music of Cuba, MU224 Jewish Music, MU398 American Folk Music, or other department approved courses.
  4. One unit in American Music, Popular Music, or Music Technology for example, MU200 Music @ the Computer, MU205 Introduction to Jazz, MU227/228 Popular Music, MU228 The Beatles Then and Now, MU231 Musicals in American Culture, MU235 From Stage to Screen, or other department-approved courses.
  5. One unit (four semesters) of performance in ensemble or studio lessons

(Each semester of ensemble or studio lessons earns .25 unit of credit.)

Minors must fulfill one additional unit of an elective music course, of the student’s choice, in consultation with the student’s minor advisor or one unit (four additional semesters) of ensemble participation/studio lessons.

Additional offerings are listed in the catalog of courses and should be discussed with the student’s minor advisor. Only department-approved courses can count toward the minor. Only one FYE unit can count toward the minor.

During the academic year, the department will sponsor a series of performances by faculty and student ensembles and soloists, as well as extended visits by distinguished visiting artists. Upon declaration, music minors must attend five (5) such department-approved concerts per semester to broaden their understanding of the joys and challenges of the concert world and to gain a deeper understanding of performance and literature. Additional information can be obtained at the music office.

MUSIC MINOR ADVISING CHECKLIST

A minimum of 6 units of course work in the Music Department, including five required units in the following categories: theory/composition, Western music history, ethnomusicology/world music, American/popular/music technology, and performance. One additional elective from any of these five categories is required, as well as regular concert attendance as described below.

FOUR REQUIRED UNITS, ONE FROM EACH OF THE FOLLOWING:
1) One unit in Music Theory or Composition

MU199 Pre-Theory, MU301 Composition, MU392 Music Theory I (or subsequent courses in the theory sequence), MU399 Experimental Music, MU425 Advanced Composition and Orchestration, or other department-approved courses.

 
2) One unit in Western Music History MU150 Music in Western Culture, MU204 From Mozart to Mahler, MU207 Opera, MU210 Splendor of the Baroque, MU212 Mozart and his Age, MU223 Beethoven, MU227 or 228 Topics (or other appropriate topics courses), MU315 Music History I, MU316 Music History II, or other department-approved courses.  
3) One unit in Ethnomusicology or World Music

MU221 or MU222 Topics in Ethnomusicology, MU290 American Indian Music, MU291 Southwest American Indian Music, MU295 Indonesian Music, MU202 Music of Cuba, MU224 Jewish Music, MU398 American Folk Music, or
other department approved courses.

 
4) One unit in American Music, Popular Music, or Music Technology

MU205 Introduction to Jazz, MU227/228 Popular Music, MU228 The Beatles Then and Now, MU200 Music @ the Computer, MU231 Musicals in American Culture, MU235 From Stage to Screen, or other department-approved courses.

 
5) One unit (four semesters) of performance in ensemble or studio lessons

(Each semester of ensemble or studio lessons earns .25 unit of credit.)

 
ONE ADDITONAL ELECTIVE UNIT

One unit of an elective music course of the student’s choice (approved by the student’s music minor adviser) or One unit (four additional semesters) of ensemble participation/studio lessons.

 

Music minors must attend five (5) department-approved concerts per semester. Programs from each concert must be signed and submitted to the Music Department office.

Please note: Only one FYE unit can count toward the music minor.

Courses

Music

MU103 Emotion and Meaning in Music

(Not offered 2016-17).

1 unit

MU104 World Music

Surveys the musical cultures of eight world areas. Develops musical vocabulary and listening skills through style description and analysis. Explores relationships between music and culture through ethnographic case studies. Introduces traditional vocal and instrumental performance techniques through workshops taught by native musicians. (Fulfills only one unit of the Social Science distribution requirement.) This course meets the ethnomusicology requirement for the music minor. May meet either the Critical Perspectives: Global Cultures or Social Inequality requirement. (Not offered 2016-17).

2 units

MU107 Percussion

.25 unit — Cooper

MU108 Tabla

.25 unit

MU109 African Drum

(Not offered 2016-17).

.25 unit

MU110 Voice

Prerequisite: consent of department & Application.

.25 unit — Brink, Comstock, Fosha

MU112 Piano

.25 unit — Anderson, Brink, Grace, Polifka

MU113 Organ

.25 unit — Shelton

MU114 Harp

.25 unit — Hunt

MU116 Jazz Bass Guitar

.25 unit — Neihof

MU117 Jazz Guitar

.25 unit — Taylor

MU118 Jazz Piano

.25 unit — Barta

MU121 Double Bass

.25 unit — Head

MU122 Cello

Prerequisite: consent of instructor.

.25 unit — Shelton

MU123 Viola

.25 unit — Dobrotvorskaia

MU124 Violin

Small group lessons for beginners, developing basic skills in technique, tone production, and musicianship. Music fundamentals, ear-training, sight-reading, and keyboard harmony. Meets once a week.

Prerequisite: consent of instructor.

.25 unit — Jorgensen

MU125 Fiddle

Students will discover aspects of good vocal production (singing, speaking) including posture, breathing, general vocal physiology, relaxation techniques, performance skills and more. For students who do not take private lessons. Individual attention given. Four to twelve students, no previous experience required. Meets once a week.

.25 unit

MU126 Banjo

.25 unit — Reed

MU127 Bluegrass Guitar

.25 unit — Reed

MU128 Mandolin

.25 unit — Miller, Reed

MU129 Classical Guitar

.25 unit — Miller

MU130 Tuba

.25 unit — Van Hoy

MU131 Baritone

.25 unit — Van Hoy

MU132 Trombone

.25 unit — Van Hoy

MU133 Trumpet

.25 unit — Wilson

MU134 French Horn

.25 unit — Collazo Llantin

MU135 Saxophone

.25 unit — Matzke

MU136 Clarinet

.25 unit — Stevens

MU137 Flute

.25 unit — Nagem

MU138 Oboe

.25 unit — Ding

MU139 Bassoon

.25 unit — Vieira

MU140 Recorder

.25 unit — Ekberg

MU145 Class Instruction in Beginning Guitar

.25 unit — Miller

MU146 Class Instruction in Intermediate Guitar

Two-semester course.

.25 unit — Miller

MU147 Class Instruction in Piano

.25 unit — Brink

MU148 Class Instruction in Voice

Prerequisite: consent of instructor.

.25 unit — Fosha

MU150 Music in Western Culture

For the non-music major. This course will examine the socio-cultural influences on music from antiquity to modern times. The music of each period will be examined in terms of its stylistic characteristics, its performance practices and its function within the society. Selected genres, composers and musical form will be studied through directed listening sessions. Special attention will be given to the aesthetic ideas that shaped the music of each period. Meets the Critical Perspectives: The West in Time requirement.

1 or 2 units — Brink, Grace

MU155 Introduction to Jazz

Musicians, critics, and historians have struggled to define jazz for a hundred years. This introduction to the history of jazz focuses on the musical processes and cultural concerns that have come to define this genre. Emphasis on the ways that social issues such as racial segregation, discrimination and the African-American struggle for civil rights have contributed to the aesthetics and political power of jazz music. No previous experience required. Writing in the Discipline. Meets the Critical Perspectives: Social Inequality requirement.

1 unit — Banagale

MU158 Experiencing Asia Through Music and Art

May meet either the Critical Perspectives: Global Cultures or Social Inequality requirement.

2 units — Bentley, Levine

MU160 Chamber Chorus

.25 unit — Teske

MU161 College Choir

.25 unit — Teske

MU162 Collegium Musicum

.25 unit — Ekberg

MU163 Small Chamber Ensemble

.25 unit — Brink, Fosha

MU164 Concert Band

.25 unit — Van Hoy

MU165 Chamber Orchestra

.25 unit — Brink

MU166 Guitar Ensemble

.25 unit — Miller

MU167 Jazz Ensemble

.25 unit — Taylor

MU168 Balinese Gamelan

.25 unit — Lasmawan

MU169 Bluegrass Ensemble

.25 unit — Reed

MU170 World Music Ensemble

.25 unit

MU199 Music Fundamentals

Develops understanding of the basic elements of music through written and aural exercises and analysis. Rudiments of music theory involving melody, rhythm, and harmony. Concentration on notation and aural recognitions of rhythm and meter, key signatures, scales, and intervals; the construction and connection of basic triads and chords; basic keyboard and sight singing skills. Designed to assist students planning to take Theory I-IV or for students interested in gaining knowledge of the musician's basic materials and skills. Cannot be used as a credit toward the music major.

Prerequisite: Consent of Instructor.

1 unit — Banagale, Brink

MU200 Music @ the Computer

Introduction to digital sound in all three categories of composition, orchestration and musical arrangement, with primary focus on Finale Notation Software. Work in the computer lab will explore a range of possibilities that combine digital samples, multimedia, and the Internet. Students will create their own orchestral arrangements and explore new combinations of sound and rhythm in an atmosphere of experimentation and discovery. Students will print, playback and record their own music. (Not offered 2016-17).

Prerequisite: consent of instructor.

.5 to 1 unit

MU202 Music of Cuba

An introduction to the cultural and political scene of Cuba, past and present. Through a careful examination of the classical repertoire and salon music, from the 18th to the 20th Centuries, we will explore the Danzón Music as well as the various Afro-Cuban religious groups like the Santería, Palo, Abakuá and Arará. Special attention will be given to the question of the way post-revolution Cuban society deals with nationality, race, and gender issues in the arts and how ideas of a Cuban cultural identity are remodeled by the government. Finally, the course will address questions of marketing and commercializing of contemporary Cuban music as demonstrated by the enormous success of the “Buena Vista Social Club” and other movies. May meet either the Critical Perspectives: Global Cultures or Social Inequality requirement. (Not offered 2016-17).

1 to 2 units

MU214 Vocal Literature and Language

Traces the development of secular vocal music from the renaissance to the 20th century with a special focus on Lieder and melodie. The International Phonetic Alphabet (I.P.A.)-a vital system which identifies each individual sound in speech-will serve as the foundation for learning the pronunciation of the four dominant languages in this repertoire--German, French, Italian and English. Students will gain the essential knowledge of vocal repertoire and pronunciation necessary for enhancing their appreciation of vocal art, their own performance practice, and their ongoing music and/or language studies. (Not offered 2016-17).

1 unit

MU217 Musical Learning Theories for Band and Orchestral Instruments

Introduces music learning theories foundational to teaching others how to play an instrument in the context of school, private lessons, and informal settings. Considers how sound is produced, which motor and aural skills enhance instrumental performance, and what teaching methods improve instruction and learning. Students acquire intermediate performance skills on two band instruments and one orchestral instrument. After practice, observation, and teaching others, the course culminates with solo and small ensemble performances. Group practices, much like rehearsals, provide opportunities for students to conduct, plan, and present lessons and to experience the complexity of working with multiple instruments in a heterogeneous setting. This course is required for K-12 music teaching licensure candidates. Prerequisite: ability to read music and consent of instructor.

Prerequisite: pre-theory music reading and consent of instructor.

1 unit — Hanagan

MU221 Topics in Ethnomusicology:

Special topics in ethnomusicology, approached through emphasis on a particular musical area, theoretical issue, genre or repertory, compositional technique, or instrument. The course is devoted to non-Western musical cultures. Meets the ethnomusicology requirement for the music minor.

1 unit — Lasmawan, Schormann

MU222 Topics in Ethnomusicology:

Special topics in ethnomusicology, approached through emphasis on a particular musical area, theoretical issue, genre or repertory, compositional technique, or instrument. The course is devoted to non-Western musical cultures. Meets the ethnomusicology requirement for the music minor.

1 unit — Barron, Lasmawan, Levine

MU224 Jewish Music

This interdisciplinary course traces the many musical traditions of the Jewish world communities in a journey from Temple singing and desert ceremonies in biblical times, through music of Mendelssohn, Mahler, and Schoenberg, to works of individuals such as Gershwin, Copland, Berlin, and Bernstein. Included will be a comparative study of the three major religions of the Western world exploring their respective voices and musical interaction. Sociology, literature, religion and history, as well as issues of ethnicity, cultural unity and self-expression, will be engaged in this multicultural search for musical identity. (Also listed as Religion 224.) May meet either the Critical Perspectives: Global Cultures or Social Inequality requirement.

1 unit

MU227 Topics in Music (Fall Semester).

Special topics in music history, theory, creativity, or technology. Topics vary from year to year, but typically emphasize a particular musical area, theoretical issue, genre, repertory, creative/compositional technique, or instrument. Meets the Critical Perspectives: Diverse Cultures and Critiques requirement. May meet either the Critical Perspectives: Global Cultures or Social Inequality requirement. Meets the Critical Perspectives: Quantitative Reasoning requirement. Meets the Critical Perspectives: The West in Time requirement.

1 unit — Ben-Amots, Cronin, Davis, Grace

MU228 Topics in Music (Spring Semester).

Special topics in music history, theory, creativity, or technology. Topics vary from year to year, but typically emphasize a particular musical area, theoretical issue, genre, repertory, creative/compositional technique, or instrument. Courses may be offered as half-block or regular-block offering.

.5 or 1 unit — Banagale, DiCenzo, Sherman

MU235 From Stage to Screen

Music is first and foremost a sonic experience, but one that relies significantly on the visual to convey meaning. Film, television, and the internet have fundamentally changed the ways in which we experience music. This course explores the vibrant world of musical performance and how a change of venue, from the stage to the screen, affects both our experience of the musical event and our understanding of it. Some of the transformations investigated include: film adaptations of Broadway musicals; the classical canon as soundtrack and subject; popular music as music video and video games; and the live broadcast of performance into alternative sites and surroundings. (Not offered 2016-17).

1 unit

MU251 Tonal Harmony.

This course builds on the basic aspects of musicianship while introducing students to the harmonic language and techniques of 17th-19th century western music. Students will analyze chorals and other harmonic genres, learn to interpret figured bass, write basic four-part chord progressions according to proper voice leading rules, and be able to demonstrate these musical genres at the keyboard. A major component of this course is the development of aural skills and sight singing including intervallic and chordal quality recognition as well as melodic and rhythmic dictations. The course will cover the full scope of diatonic through Chromatic harmony, including secondary dominants, extended subdominants, special sixth chords, modulations, and simple score reading.

1 unit — Brink

MU268 Popular Music Studies

This course provides an overview of current, interdisciplinary approaches to the study of popular music. Rather than provide a chronological survey of genres and styles, students will be introduced to how such designations emerge through the study of historiography and reception. Critical methodological approaches include identity, race, ethnicity, gender, and sexuality studies. Students will undertake research and writing projects in both scholarly and popular literary modes. (Not offered 2016-17).

1 unit

MU271 Musicals in American Culture

Musicals stood at the center of American culture for much of the twentieth century. They not only generated tunes and tales that became the hits of their day, but also commented on the ever-shifting social and political landscape. Rather than offer a comprehensive survey, this course explores the musical artistry and cultural resonances of the American musical through a cluster of shows that confront issues of race, ethnicity, politics, immigration, and globalization. The course places an emphasis on compositional style through the development critical listening and analysis skills. Meets the Critical Perspectives: Social Inequality requirement. (Not offered 2016-17).

1 unit

MU281 American Music History

Overview of classical and popular traditions in American music. Draws out this music's relevance to audiences of the past and of the present. Assigned listening and readings paired with source materials (such as correspondence, diary entries, and historical reviews) selected to increase understanding of a given work or historical figure. (Not offered 2016-17).

1 unit

MU283 Mozart & His Age

A study of Mozart's life, character and works in the context of 18th century Europe. The course will examine each genre of music composed by Mozart and compare his works with those of his immediate predecessors and contemporaries such as Handel and Haydn. Mozart's place in 18th century society - his relationships with employers, contemporary musicians and works, family, friends, and the Masonic movement - will be examined as a context for the study of his music. No musical background is required. (Not offered 2016-17).

1 unit

MU284 Beethoven.

An exploration of the life and music of Ludwig van Beethoven (1771-1827). The course will begin with an overview of Beethoven's artistic inheritance from Haydn and Mozart, particularly in regard to symphonies, piano sonatas and concertos, string quartets, music for the stage, and sacred music. The powerful and daring works of Beethoven's middle period, the time of his increasing deafness, proved a challenge to this inheritance, and these compositions dominated the aesthetic concerns of the most important Western composers who followed Beethoven in the nineteenth century. The transcendental, reflective, and even puzzling works that Beethoven created in his last years - while his behavior was becoming more erratic and disturbing - were not fully appreciated by his contemporaries and immediate successors. Indeed, their artistic value and influence were not generally acknowledged until the twentieth century. This course will focus on the musical and biographical considerations that can be used to describe Beethoven as a Viennese Classical, Romantic, and post-Romantic figure, as well as his role in forming the modern concept of the performing artists and composer. No musical background is required.

1 unit — Grace

MU285 Music of the Baroque and Classical Eras.

Study of musical forms, styles, media and aesthetic criteria in the cultural context of the Age of Enlightenment. The emergence of the composer from artistic patronage systems into the realm of freelance employment will serve as a central theme. Particular attention will be given to Vivaldi, Bach, Handel, Haydn, Mozart and Beethoven. Meets the Critical Perspectives: The West in Time requirement.

1 unit — Grace

MU286 Music of the Romantic and Early-Modern Eras.

Study of musical forms, styles, media and aesthetic criteria in the rapid and dramatic cultural changes of the ages of Romanticism and early Modernism. The rise of the composer as an individualist in the Romantic Age, and the disintegration of the traditional musical cannon at the end of the 19th Century until WWI will serve as a central theme. Special attention will be given to the music of Schubert, Schumann, Chopin, Liszt, Berlioz, Brahms, Wagner, Verdi, Debussy, Stravinsky and Schönberg. Meets the Critical Perspectives: The West in Time requirement.

Prerequisite: Music 199 or consent of instructor.

1 unit — Grace

MU290 American Indian Music

Explores American Indian history, culture, society, religion, ritual, aesthetic expression, and contemporary issues through the domain of music. Develops ability to identify, describe, and analyze various American Indian music; considers diverse styles and performance contexts. Addresses traditional as well as new music. This course meets the ethnomusicology requirement for the music minor. May meet either the Critical Perspectives: Global Cultures or Social Inequality requirement. (Not offered 2016-17).

1 unit

MU291 Music in Culture: Native American Southwest

Music is central to Native Americans within both local communities and urban contexts, and its study illuminates important facets of Native social structure, ways of life, and world view. This course addresses Native musical cultures of the Southwestern United States in historical and contemporary perspectives, surveying diverse repertories including ceremonial, popular, and Native Classical musics. It focuses on the elements of style that create a distinctive sound within each musical repertory, and considers major concerns of Native musicians today, including musical preservation and revitalization, misappropriations of Native musics, and musical challenges to ethnic stereotypes. Students participate in hands-on performance workshops led by Native musicians. Assignments are project-based and discussion-oriented. Course material is enhanced by guided listening and films. All students are welcome; no prior musical background needed. This course meets the ethnomusicology requirement for the music minor. As a cross-listing with Anthropology, it centers on humans as producers of music, situates musical activity comparatively, and makes meaningful connections with the body of knowledge and theory of cultural anthropology. May meet either the Critical Perspectives: Global Cultures or Social Inequality requirement. (Not offered 2016-17).

1 unit

MU293 Music in Culture: Asia

: Music is a cornerstone of Asian expressive traditions, providing a lens through which the complex social interactions within the region may be understood. This course introduces the musical cultures of India, China, and Japan in historical and contemporary perspectives, surveying diverse repertories including ritual, court, folk, popular, and film music. It focuses on three pivotal time periods in each region—the classical era, the early modern era, and the twentieth century—and on the elements of style that create a distinctive sound within each culture. Students participate in hands-on performance workshops led by masters of Asian musics. Assignments are project-based and discussion-oriented. Course material is enhanced by guided listening and films. All students are welcome; no prior musical background needed. This course meets the ethnomusicology requirement for the music minor. As a cross-listing with Anthropology, it centers on humans as producers of music, situates musical activity comparatively, and makes meaningful connections with the body of knowledge and theory of cultural anthropology. Meets the Critical Perspectives: Global Cultures requirement. (Not offered 2016-17).

1 unit

MU295 Music in Culture: Indonesia

Gamelan orchestras, featuring a variety of bronze, bamboo, and wooden percussion instruments, are a global icon of Indonesian culture. This course introduces the vibrant and dynamic gamelan traditions of Bali and Central Java in historical and contemporary perspectives, surveying diverse repertories including ritual, court, village, dance, theater, and popular musics. Students learn the fundamentals of Indonesian music theory and the elements of form and design that create the distinctive sounds of gamelan music. The role of Hinduism and Islam in Indonesian musical life is discussed, along with the impact of Dutch colonization, decolonization, and tourism. Emphasis is placed on performance and creative components; students compose and perform gamelan music and participate in hands-on workshops with Indonesian musicians. The class culminates in a public performance, in which students present music learned during the course. All students are welcome; no prior musical background needed. The class is team-taught by an Indonesian musician and an ethnomusicologist. This course meets the ethnomusicology requirement for the music minor. As a cross-listing with Anthropology, it centers on humans as producers of music, situates musical activity comparatively, and makes meaningful connections with the body of knowledge and theory of cultural anthropology. Meets the Critical Perspectives: Global Cultures requirement.

1 unit — Lasmawan, Levine

MU301 Composition

Practical guidance in the composition of original music, with reference to 20th century music theory and compositional methods. Students will be able to concentrate on both the creative and the analytical aspects of contemporary composition.

Prerequisite: Music 199 Music Fundamentals or consent of instructor.

1 unit — Ben-Amots

MU302 Advanced Composition and

This advanced course combines the study of the ranges, capabilities, and characteristics of orchestral instruments with practical guidance in the composition of original music. Examines orchestration techniques with emphasis on the historical evolution of the orchestra, starting with the Baroque era and its basso continuo, through Classical, Romantic, and 20th-century orchestration techniques. (Not offered 2016-17).

Prerequisite: consent of instructor.

1 unit

MU303 Advanced Theory and Formal Analysis.

Harmonic practices of the late 19th century; elementary instrumentation and score-reading; keyboard harmony, ear-training, and sight-singing. (Not offered 2016-17).

Prerequisite: Music 251 (Tonal Harmony).

1 unit

MU315 Music History I

Music of the Ancient World, Middle Ages, Renaissance, and Baroque. Forms, techniques, media, and aesthetic elements as fundamentals of style. An examination of music and music theory from classical antiquity through the middle of the 18th century, including the diffusion of early Christian chant, the rise of mainstream sacred polyphony in Paris during the twelfth and thirteenth centuries, the spread of sacred and secular forms during the late Middle Ages, the influence of English style on the French-Flemish composers who would dominate sacred musical style in the fifteenth and early sixteenth centuries, the appearance of important Italian composers in the late Renaissance, the national manifestations of Renaissance and early Baroque secular forms, and the international High Baroque style of Vivaldi, Bach, Handel, and Rameau. Meets the Critical Perspectives: The West in Time requirement. (Not offered 2016-17).

Prerequisite: consent of instructor & 199. Music 315 & 316 TOGETHER equals 'W' credit.

1 unit

MU316 Music History II

Music of the Classical and Romantic periods, and the 20th century until 1945. Forms, techniques, media, and aesthetic elements as foundations of style. Music of the Classical era concentrating on the works of Haydn, Mozart, and Beethoven, studied in the context of the age of Enlightenment and the freedom of the composer from patronage systems. The emergence of a romantic ideal in 19th century music with special focus on Schubert, Schumann, Chopin, Liszt, Berlioz, Brahms, Verdi, Wagner, nationalistic composers in Russia, and Mahler. The languages of 20th-century music as a part of rapid cultural change including the music of Debussy, Stravinsky, Schonberg, Webern, Berg, and Bartok. Note: Music History I and II do not have to be taken in sequence and credit is given for each course completed. Meets the Critical Perspectives: The West in Time requirement. (Not offered 2016-17).

Prerequisite: consent of instructor & 199. Music 315 & Music 316 TOGETHER equals 'W' credit.

1 unit

MU321 Advanced Performance (Fall Semester).

Semester-long, advanced-level course in instrumental or vocal performance with exposure to a wide variety of music literature, styles, and genres through experiential learning. Students receive full-hour lesson each week and perform publicly at least once during that semester, participating in Music at Midday, teacher seminars, master classes by visiting artists, and demonstrations for academic classes as appropriate. (Not offered 2016-17).

.5 unit

MU322 Advanced Performance (Spring Semester).

Semester-long, advanced-level course in instrumental or vocal performance with exposure to a wide variety of music literature, styles, and genres through experiential learning. Students receive full-hour lesson each week and perform publicly at least once during that semester, participating in Music at Midday, teacher seminars, master classes by visiting artists, and demonstrations for academic classes as appropriate. (Not offered 2016-17).

.5 unit

MU325 Conducting (Choral)

Basic conducting and rehearsal techniques; interpretation in light of performance practices of various historical periods. Some outside reading required. Taught as an extended format course and must be taken for a full year.

Prerequisite: consent of instructor.

1 unit

MU342 Music Education in the Elementary Grades

(Not offered 2016-17).

Prerequisite: consent of instructor (extended format).

.5 to 1 unit

MU391 Independent Study (Fall Semester).

Independent, in-depth investigation of a subject previously studied or an area of academic interest not covered in a regular departmental course. Meets the Critical Perspectives: Quantitative Reasoning requirement. (Not offered 2016-17).

1 unit

MU392 : Independent Study (Spring Semester).

Independent, in-depth investigation of a subject previously studied or an area of academic interest not covered in a regular departmental course. Meets the Critical Perspectives: Quantitative Reasoning requirement.

1 unit

MU393 Comparative Music Theory

Thinking about music is a universal human behavior, although people from diverse musical cultures think about music in very different ways. This course investigates the fundamentals of musical thought around the world and explores alternative approaches to the analysis of world musics. Students learn about the history and methods of music notation and pitch naming systems from global perspectives and compare practices of musical transmission, musicianship, and creativity around the world. Students apply ear-training and music dictation skills to the transcription of archival recordings from Spanish New Mexico, and demonstrate competence in transcription, analysis, and research methods through an individually-designed project. Students develop critical thought by reading and discussing analytical case studies from Bali, Bulgaria, Central African Republic, China, Cuba, India, Iran, Java, Native America, and other musical cultures. This course meets the ethnomusicology requirement for the music minor. As a cross-listing with Anthropology, it centers on humans as producers of music, situates musical activity comparatively, and makes meaningful connections with the body of knowledge and theory of cultural anthropology. Meets the Critical Perspectives: Global Cultures requirement.

Prerequisite: Music 392.

1 unit — Levine

MU395 Irish Traditional Music

Irish traditional music has played an integral role in the ongoing formation of Irish and Irish American identities. This course explores the historical development of Irish music and the ways in which it has articulated issues of colonization, nationalism, diaspora, cultural revival, and globalization. It further examines Irish musical styles, genres, and repertories. Emphasis is placed on performance and creative components; students participate in hands-on workshops with Irish musicians and attend a concert of traditional Irish music. Instrumental and vocal tutorials enhance the workshops and the class culminates in a public performance, in which students present music learned during the course. The class is team-taught by an Irish singer and an ethnomusicologist. This course meets the ethnomusicology requirement for the music minor. As a cross-listing with Anthropology, it centers on humans as producers of music, situates musical activity comparatively, and makes meaningful connections with the body of knowledge and theory of folklore. (Also listed as Anthropology 308). Meets the Critical Perspectives: Global Cultures requirement. (Not offered 2016-17).

Prerequisite: Previous college-level music coursework or private instruction; instrumental/vocal proficiency; and consent of instructor.

1 unit

MU397 Advanced Topics in Music

Particular topics in music that require a more advanced background in music theory and history. Specific offerings vary from year to year and focus on periods, composers, areas, or mediums that are not otherwise offered through the regular curriculum

Prerequisite: Music 392 or consent of instructor.

1 unit — Banagale

MU398 Advanced Topics in Music

Particular topics in music that require a more advanced background in music theory and history. Specific offerings vary from year to year and focus on periods, composers, areas, or mediums that are not otherwise offered through the regular curriculum

Prerequisite: Music 392 or consent of instructor.

1 unit — Banagale, Reed

MU399 Experimental Music

Study and practical work in the 'American Experimental Tradition' of Ives, Cowell, Cage, Partch and Young, and their international contemporaries and disciples. Primary focus on the development of new acoustic sound sources, including extended instrumental and vocal techniques, instrument design and building. Some attention also to compositional and performance issues. (Not offered 2016-17).

Prerequisite: Music 150 or 392.

1 unit

MU401 Readings in Music:

Specialized concentration in fields appropriate to the needs of the individual student, under the direction of the music faculty. May be taken by non-music majors.

Prerequisite: consent of instructor.

1 unit — Brink, Grace, Levine, Trevino

MU402 Readings in Music: Advanced

Specialized concentration in fields appropriate to the needs of the individual student, under the direction of the music faculty. May be taken by non-music majors.

Prerequisite: consent of instructor.

1 unit — Grace

MU435 Capstone Seminar

Development and design of research topics, questions, and proposal, with emphasis on project design, exploration of secondary literature and primary sources, bibliographic construction and format. Students will complete a formal project proposal for submission to music department faculty for approval as well as prepare a research funding proposal (such as a Venture Grant) for their respective project. Required of all music majors in the spring of their junior year, in block 6 so that it coincides with the capstone presentations of the senior class above them. The intention here is that students will have the goals and skills in place to undertake research and creative work during the summer prior to their senior year and to prepare students to undertake the senior capstone project in music.

Prerequisite: Senior Music Majors.

1 unit — Banagale, Levine

MU437 Senior Capstone (Fall Semester).

Advanced work on the senior capstone project in music oriented towards individual student’s interest and focus. Ordinarily taken following MU 435 (Capstone Seminar).

1 unit — Banagale

MU438 Senior Capstone (Spring

Advanced work on the senior capstone project in music oriented towards individual student’s interest and focus. Ordinarily taken following MU 435 (Capstone Seminar).

1 unit