Music
Music
510.430.2171
music@mills.edu
The Mills College Music Department offers a unique undergraduate major in music that promotes a dynamic interaction between performance and improvisation, cultural studies, composition, and sound technology. We encourage our students to investigate and to play music from a broad spectrum of styles and traditions. Above all, the fostering of creativity, which can lead to innovative and even revolutionary ideas, lies at the core of our undergraduate music program.
Our students study composition, electronic music, and media technology with ground-breaking artists. They learn how to compose spontaneously with world-renowned improvisers, and to explore music from both the past and the present under the guidance of our outstanding performance faculty. They also examine the intersections of music and its myriad global, historical, and cultural contexts with passionate scholars.
Performance students work with top San Francisco Bay Area musicians and participate in a range of groups, including Early Music, Performance Collective (Chamber), and the Vocal, Percussion, Gamelan, African Drumming, Music Improvisation Ensemble, and Contemporary Performance Ensemble.
The Mills Music Department has stood at the forefront of experimental music and its allied arts and sciences for decades. Our program provides undergraduate women the opportunity to assume roles in music technology, recording engineering, and composition that were traditionally inaccessible to them. All music students at Mills can work in the recording facilities of our Center for Contemporary Music, a world-renowned facility for electronic and computer music that has played an influential role in the development of contemporary musical culture and is an important link in the long chain of innovation at Mills.
Just as all musical activities should be interrelated, music should not be isolated from other disciplines in the arts, the humanities, and the sciences. We therefore enthusiastically support interdisciplinary work and language study, and are committed to courses of study that fit the needs of students with special interests. In keeping with the liberal arts mission of the College, we also offer courses suitable for non-majors that not only introduce students to a wide variety of styles and repertory, but also place musical activity within the broader context of intellectual history and global culture.
Our undergraduates are encouraged to think critically, to collaborate, to explore and refine their creativity, to expand their vocabularies and techniques, and forge their own diverse paths.
Program Goals
- To understand music within a broad cultural, political, social and intellectual context.
- To possess a knowledge of and openness to a diversity of musical styles and practices.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.)
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory.
- For composers: To demonstrate the ability to write music, technical skills in the use of electronic and recording media, and an understanding of how to use these skills for creative ends.
Courses for Non-majors
Music is an important component of a liberal arts education. The department offers courses specifically designed for non-majors each year. These courses allow students to become culturally informed and active participants in a wide variety of musical experiences. Students engaged in discourse about music also acquire verbal and analytical skills that will be useful throughout their scholarly and/or professional careers.
Core courses in the non-major curriculum, such as Exploring Music: MUS 001 Exploring Music: Performance, Creation, and Cultural Practice, MUS 014 Musics of the World: Southeast Asia, Korea and Japan/MUS 015 Musics of the World: Africa, the Mediterranean, and the Americas, MUS 016 Women, Gender, and Musical Creativity/MUS 116 Women, Gender, and Musical Creativity; MUS 020 American Music, Film Music: Mood and Meaning (MUS 121); MUS 141 The Music of India: Brahma to Bhangra, and MUS 163 The World of Opera, introduce a broad range of music and demonstrate how music is part of a vast social, political, and intellectual perspective. These courses also concentrate on the development of the non-musician's musical perceptions; students learn that the ability to understand and appreciate music, and even to participate in creative musical activity, is not the sole property of those with formal musical training. Non-majors are also encouraged to enroll in several of our courses in electronic music and music technology: Introduction to MUS 047 Introduction to Electronic Music/MUS 147 Introduction to Electronic Music; MUS 054 Introduction to Computer Music/MUS 154 Introduction to Computer Music; and MUS 161 Sound Techniques of Recording.
The Music Department also offers individual instruction in voice and most instruments—even for beginners—and various musical ensembles that attract the College community, including the Performance Collective, Vocal Jazz Improvisation, Gamelan, Haitian Drumming, Music Improvisation, the Mills Percussion Group, Contemporary Performance, and Early Music Ensembles.
Music Courses
MUS 001: Exploring Music: Performance, Creation, and Cultural Practice (3 Credits)
An introduction to music from the perspectives of performer, composer, improvisor, instrument maker, and scholar. Music will be studied as a social art, as a performance practice, as acoustic architecture and spontaneous creation, and as historical artifact and cultural signifier. Projects for the class include playing music, listening and analysis, composing, recording, and writing. No knowledge of music, notation, or instrumental skill is necessary.
Note(s): Open to undergraduates only.
Meets the following Gen Ed requirements: Creation and Criticism in the Arts
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- In this team-taught course, students will listen to, examine, and discuss a broad range of music.
- Students will explore/listen to the life and work of great musicians, analyze waveforms of sounds, explore timbral modifications, examine the role of recording in music, dissect recordings to find hidden reverb, and practice listening exercises.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Students listen to recorded selections from music history and categorize the musical elements employed.
- Students write journal entries and short response papers assessing the aesthetic properties achieved in listening selections.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- Students will engage in class discussions of a variety of musical works in relation to their style and context.
- Students will write response papers for various topics that take into consideration issues of reception, aesthetics, and influence.
MUS 003: Musicianship I–IV (2 Credits)
Musicianship I–IV provides practical training in basic musical skills including: reading music notation; understanding elementary music theory; performing sight-singing, melodic, rhythmic, and harmonic dictation; and basic keyboard skills.
Note(s): Students will be placed in one of four different groups to practice at the appropriate skill level, from beginning through advanced. Students must pass a proficiency test for level I to declare a music major, and must complete a proficiency test for level IV to graduate as a music major.
Program Goals:
Music Program Goals
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced, Mastered)
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Introduced, Practiced)
- Being able to distinguish between different musical forms, as well as determine the age of a piece of music through critical (aural and written) analysis.
- Differentiating concepts of melody and harmony between historical and contemporary musical styles.
- Demonstrating an understanding of a range of compositional techniques, analytical methods, and important issues in music criticism.
- Developing a strong grasp of the language of Western music through at least three of the following learning skills: musicianship (aural training), theory, listening, history, score-reading, analysis, practice, composition.
- Understanding that learning music as a language involves studies in vocabulary, grammar and syntax, as well as in larger forms, all of which can be understood as structures of cultural and artistic expression.
MUS 005: Diatonic Harmony and Counterpoint I (4 Credits)
A study of melodic writing, elementary counterpoint, and diatonic harmony as practiced during the 18th and 19th centuries through analysis and the development of written and aural skills. Music majors must register concurrently for Musicianship II and III. Designed for music majors and non-majors who have a working knowledge of musical notation.
Meets the following Core requirements: Create, Innovate & Experiment
Meets the following Gen Ed requirements: Creation and Criticism in the Arts
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Practiced)
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Practiced)
- Demonstrating an understanding of a range of compositional techniques, analytical methods, and important issues in music criticism.
- Understanding that learning music as a language involves studies in vocabulary, grammar and syntax, as well as in larger forms, all of which can be understood as structures of cultural and artistic expression.
- Differentiating concepts of melody and harmony between historical and contemporary musical styles.
- Developing a strong grasp of the language of Western music through at least three of the following learning skills: musicianship (aural training), theory, listening, history, score-reading, analysis, practice, composition.
- Being able to distinguish between different musical forms, as well as determine the age of a piece of music through critical (aural and written) analysis.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Practiced)
- Learning how to interact with computer-based musical processes, or to produce real-time computer music that incorporates improvisation.
- Developing improvisational skills, including the ability to listen, to respond effectively, to make good choices, and to be sensitive to the musical, social, and acoustical environment.
- Demonstrating the ability to conceptualize, plan, problem-solve, perfect, and realize performances, from both technical and aesthetic points of view.
- Learning the skills appropriate for, or specific to, a range of different musical styles.
Core Goals:
Create, Innovate & Experiment
- Students will extend their creative strengths and skills. (Introduced, Practiced)
- Students learn to correctly identify all elements of music notation and apply these skills in analyzing examples from traditional Western music practice.
- Students will design or produce work that demonstrates independent thinking, originality, and inventiveness. (Introduced)
- Students learn the principles of polyphonic voice leading and compose original music phrases embodying those attributes.
- Students will produce innovative solutions to real-world problems. (Introduced)
- Students can apply analysis and composing skills in diverse real-world musical situations.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Compose melodies and create harmonic progressions that exemplify aesthetic principals found in the classical and jazz traditions. Analyze chord progressions in musical examples from tonal music literature.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced)
- Recognize qualities of melodic shape and harmonic progression through analysis and compositional practice.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Compare and contrast melodic, harmonic, and rhythmic aspects of tonal music using correct music theory concepts and terminology.
MUS 006: Diatonic Harmony and Counterpoint II (4 Credits)
A study of melodic writing, elementary counterpoint, and diatonic harmony as practiced during the 18th and 19th centuries through analysis and the development of written and aural skills. Music majors must register concurrently for Musicianship I–IV. Designed for music majors and non-majors who have a working knowledge of musical notation.
Prerequisite(s): MUS 005
Note(s): Equivalent of MUS 005 or consent of instructor. Limit 18 students.
Meets the following Core requirements: Create, Innovate & Experiment
Meets the following Gen Ed requirements: Creation and Criticism in the Arts
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced)
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Practiced)
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Practiced)
- Demonstrating an understanding of a range of compositional techniques, analytical methods, and important issues in music criticism.
- Understanding that learning music as a language involves studies in vocabulary, grammar and syntax, as well as in larger forms, all of which can be understood as structures of cultural and artistic expression.
- Differentiating concepts of melody and harmony between historical and contemporary musical styles.
- Developing a strong grasp of the language of Western music through at least three of the following learning skills: musicianship (aural training), theory, listening, history, score-reading, analysis, practice, composition.
- Being able to distinguish between different musical forms, as well as determine the age of a piece of music through critical (aural and written) analysis.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Practiced)
- Learning how to interact with computer-based musical processes, or to produce real-time computer music that incorporates improvisation.
- Developing improvisational skills, including the ability to listen, to respond effectively, to make good choices, and to be sensitive to the musical, social, and acoustical environment.
- Demonstrating the ability to conceptualize, plan, problem-solve, perfect, and realize performances, from both technical and aesthetic points of view.
- Learning the skills appropriate for, or specific to, a range of different musical styles.
Core Goals:
Create, Innovate & Experiment
- Students will extend their creative strengths and skills. (Practiced)
- Students can correctly notate melodies and harmonize them according to the principles of traditional Western musical practice.
- Students will design or produce work that demonstrates independent thinking, originality, and inventiveness. (Practiced)
- Students can independently analyze the melodic and harmonic character of musical works, and comment on how they exemplify aesthetic principles.
- Students will produce innovative solutions to real-world problems. (Practiced)
- Students can create original harmonic arrangements of melodies drawn from different eras and musical styles.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Analyze the use of melody and harmony in selected classical and jazz works. Compose melodies and harmonize them in four parts.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Students are able to write and harmonize melodies in well-structured phrases supported by meters of three and four beats.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Use correct music theory terminology to describe melodic and harmonic aspects of selected classical and jazz works.
MUS 007: Individual Instruction - Instrumental (1 Credits)
Private lessons in the performance of musical instruments. Lessons are not covered by tuition and must be arranged in person through the Music Department's administrative assistant prior to the first day of classes. Students may audition for lesson scholarships which must be applied for through the Music Department's administrative assistant prior to the first day of classes.
Note(s): See individual lesson instructors in faculty roster. Open to undergraduates only.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Introduced, Practiced)
- Developing improvisational skills, including the ability to listen, to respond effectively, to make good choices, and to be sensitive to the musical, social, and acoustical environment.
- Demonstrating the ability to conceptualize, plan, problem-solve, perfect, and realize performances, from both technical and aesthetic points of view.
- Learning the skills appropriate for, or specific to, a range of different musical styles.
- Learning how to interact with computer-based musical processes, or to produce real-time computer music that incorporates improvisation.
MUS 007A: INDIV INSTRUM INST-CELLO (0.25 Credits)
MUS 007AA: Indiv Instr Instruction: Bass (0.25 Credits)
MUS 007B: INDIV INSTR INST-CLARINET (0.25 Credits)
MUS 007BB: Indiv Instruct Instr-Sitar (0.25 Credits)
MUS 007C: Indiv Instr Instruction: Flute (0.25 Credits)
MUS 007D: INDIV INSTRUM INST-HARP (0.25 Credits)
MUS 007E: INDIV INSTRUM INST-OBOE (0.25 Credits)
MUS 007F: INDIV INSTRUM INST-ORGAN (0.25 Credits)
MUS 007G: Indiv Instr Instruction: Piano (1 Credits)
MUS 007H: INDIV INSTR INST-RECORDER (0.25 Credits)
MUS 007I: INDIV INSTR INST-VIOLIN (1 Credits)
MUS 007J: INDIV INSTR INST-VIOLA (0.25 Credits)
MUS 007K: INDIV INST-CLAVICHORD (0.25 Credits)
MUS 007L: Indiv Instrum Instr: Saxophone (1 Credits)
MUS 007M: INDIV INST-HARPSICHORD (0.25 Credits)
MUS 007N: INDIV INSTR-BASSOON (0.25 Credits)
MUS 007O: INDIV INSTR-TRUMPET (0.25 Credits)
MUS 007P: INDIV INSTRUM-PERCUSSION (1 Credits)
MUS 007Q: Indiv Instr Instruction:Guitar (0.25 Credits)
MUS 007R: Indiv Instruction:Composition (0.25 Credits)
MUS 007S: INDIV INSTRUM-GAMELAN (0.25 Credits)
MUS 007T: INDIV INSTRUM-DOUBLE BASS (0.25 Credits)
MUS 007U: Indiv Intrum Instr:French Horn (0.25 Credits)
MUS 007V: INDIV INSTRUM-TROMBONE (0.25 Credits)
MUS 007X: Indiv Instrum Instr: Elec Bass (1 Credits)
MUS 007Y: Indiv Instrum Instr: Mandolin (0.25 Credits)
MUS 007Z: INDIV INST PERF & COMP BANJO (0.25 Credits)
MUS 009: Individual Instruction - Voice (1 Credits)
Private lessons in vocal performance. Lessons are not covered by tuition and must be arranged in person through the Music Department's administrative assistant prior to the first day of classes. Students may audition for lesson scholarships which must be applied for through the Music Department's administrative assistant prior to the first day of classes.
Note(s): See individual lesson instructors in faculty roster. Open to undergraduates only.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Introduced, Practiced)
- Developing improvisational skills, including the ability to listen, to respond effectively, to make good choices, and to be sensitive to the musical, social, and acoustical environment.
- Demonstrating the ability to conceptualize, plan, problem-solve, perfect, and realize performances, from both technical and aesthetic points of view.
- Learning the skills appropriate for, or specific to, a range of different musical styles.
- Learning how to interact with computer-based musical processes, or to produce real-time computer music that incorporates improvisation.
MUS 009CC: Individ Instr Perf Voice (1 Credits)
MUS 014: Musics of the World: Southeast Asia, Korea and Japan (3 Credits)
A survey of music from a variety of the world's cultures provide a global perspective on music making. Music is studied as a phenomenon of cultural evolution in order to discover concepts that bind musical cultures together, as well as to identify the features that characterize particular musical practices. This course focuses on musics from Indonesia, the Philippines, Vietnam, China, Korea, and Japan. Lecture-demonstrations by performers of traditional and contemporary music from these countries will offer examples of the preservation and evolution of diverse musical styles.
Meets the following Core requirements: Critical Analysis, International Perspectives
Meets the following Gen Ed requirements: Creation and Criticism in the Arts, Multicultural Perspectives
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced, Mastered)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Through the process of interacting with guest artists and with their peers in class discussions, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
Core Goals:
Critical Analysis
- Students will critically analyze information and ideas. (Introduced, Practiced)
- Students investigate the relationship of specific musical practices to their cultural context in order to explain how musical styles reflect and embody meaning in different societies.
- Students will examine issues from multiple perspectives. (Introduced, Practiced)
- Students develop understanding of the multiple ways that different audiences perceive and engage with musical performances.
- Students will engage in an exploration of the relationship between past systems of knowledge and present scholarly and creative approaches within and across disciplines. (Introduced, Practiced)
- Students learn about the field of ethnomusicology, how it has evolved greatly over its relatively short existence as an academic discipline, and about the changing nature of its interdisciplinarity.
- Students will consider how our understanding of significant questions and ideas is informed by the critical, scholarly, and creative approaches through which we approach those questions and ideas. (Introduced, Practiced)
- Students have learned the ways in which the ethnomusicologist's relationship to her subject influences the nature of the work she produces.
- Students will develop discernment, facility and ethical responsibility in using information. (Introduced, Practiced)
- Students analyze musical performances and recordings to identify the cultural origin of different instruments, techniques, and styles. They learn the difference between recording and performance, and become familiar with ethical behavior in relationship to each.
- Students will engage as active participants in the College's intellectual community. (Introduced, Practiced)
- Students have participated by attending concerts and musical activities at Mills College and/or in the Bay Area, and have written analytical reports on the music experienced and its context.
International Perspectives
- Students will reflect on their value systems and way of understanding the world and understand that these are not universal. (Introduced, Practiced)
- Students have learned to interpret and value the music they study as a manifestation of a world view that has unique differences to their own.
- Students will analyze the history, arts, politics, language, economy of a non-Western national context using scholarly or creative perspectives from the culture being studied and demonstrate the ability to contrast these with dominant US perspectives. (Introduced, Practiced)
- Students have learned about the musical languages of several Asian cultures, and about the values for which they are appreciated by musicians and audiences in their nations. They have compared and contrasted these musical and cultural differences in class discussions and in their listening journals.
- Students will demonstrate knowledge of at least one ethnic or national group and its experiences outside of the United States. (Introduced, Practiced)
- Students have written a report on a musician or musical group from one of the cultures whose music has been studied in the class.
- Students will demonstrate knowledge of intellectual and/or creative contributions from at least one culture, country, or region outside of the United States. (Introduced, Practiced)
- Students have written reports and shared them orally in class that describe their choice of a musician or musical group from one of the cultures studied within the class.
General Education Goals:
Creating & Critiquing Arts
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Students recognize important historical styles from a variety of world cultures, and can compare them by discussing specific physical, formal, and expressive aspects.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Students use standard music theory vocabulary in describing the melodic, rhythmic, and timbral character of musics from diverse world cultures.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- Students write descriptions of a musical practice they have chosen that includes discussion of its technical, social, historical, and aesthetic foundations.
Multicultural Perspectives
- Demonstrate understanding of culture and cultural identities as dynamic rather than fixed categories, and describe the diverse ways in which they are produced, transformed, and maintained (Introduced, Practiced)
- Students describe music with reference to its origins and influences from different cultures.
- Students can describe the history of cultural influences that are combined and represented in different but identifiable musical traditions.
- Describe how two or more ethnic groups have interacted in different historical contexts, and be able to discuss the dynamics of that relationship (Introduced, Practiced)
- Students identify musical styles with reference to the history of different cultures and how they have influenced and interacted with each other.
- Deploy the necessary critical tools to reflect on the artistic, literary, and intellectual traditions of marginalized groups-both nationally and internationally-and to appreciate the diversity of human thought and experience (Introduced, Practiced)
- Students associate different musics with their origins in different social classes and ethnicities, including those that have been traditionally marginalized in their own cultural context and internationally.
MUS 015: Musics of the World: Africa, the Mediterranean, and the Americas (3 Credits)
A survey of music from a variety of the world's cultures providing a global perspective on music making. Music is studied as a phenomenon of cultural evolution in order to discover concepts that bind musical cultures together, as well as to identify the features that characterize particular musical practices. Both art music and indigenous folk music traditions are examined. This course surveys traditional music in Africa, the Mediterranean, and the Americas.
Meets the following Core requirements: Critical Analysis, International Perspectives
Meets the following Gen Ed requirements: Creation and Criticism in the Arts, Multicultural Perspectives
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced, Mastered)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
Core Goals:
Critical Analysis
- Students will critically analyze information and ideas. (Introduced)
- Students investigate the relationship of specific musical practices to their cultural context in order to explain how musical styles reflect and embody meaning in different societies.
- Students will examine issues from multiple perspectives. (Introduced)
- Students develop understanding of the multiple ways that different audiences perceive and engage with musical performances.
- Students will engage in an exploration of the relationship between past systems of knowledge and present scholarly and creative approaches within and across disciplines. (Introduced)
- Students learn about the field of ethnomusicology, how it has evolved greatly over its relatively short existence as an academic discipline, and about the changing nature of its interdisciplinarity.
- Students will consider how our understanding of significant questions and ideas is informed by the critical, scholarly, and creative approaches through which we approach those questions and ideas. (Introduced)
- Students have learned the ways in which the ethnomusicologist's relationship to her subject influences the nature of the work she produces.
- Students will develop discernment, facility and ethical responsibility in using information. (Introduced)
- Students analyze recorded musical performances to identify the cultural origin of different instruments, techniques, and styles. They learn the difference between recording and performance, and become familiar with ethical behavior in relationship to each.
- Students will engage as active participants in the College's intellectual community. (Introduced)
- Students have participated by attending concerts and musical activities at Mills College, and have written analytical reports on the music experienced and its context.
International Perspectives
- Students will reflect on their value systems and way of understanding the world and understand that these are not universal. (Introduced, Practiced)
- Students have learned to interpret and value the music they study as a manifestation of a world view that has unique differences to their own.
- Students will analyze the history, arts, politics, language, economy of a non-Western national context using scholarly or creative perspectives from the culture being studied and demonstrate the ability to contrast these with dominant US perspectives. (Introduced, Practiced)
- Students have learned about the musical language of several non-Western cultures, and about the values for which it is appreciated by musicians and audiences in their nations. They have compared and contrasted these musical and cultural differences in class discussions and in their listening journals.
- Students will demonstrate knowledge of at least one ethnic or national group and its experiences outside of the United States. (Introduced, Practiced)
- Students have written a report on a musician or musical group from one of the cultures whose music has been studied in the class.
- Students will demonstrate knowledge of intellectual and/or creative contributions from at least one culture, country, or region outside of the United States. (Introduced, Practiced)
- Students have presented their written project orally in class that describes their study of a musician or musical group from one of the cultures studied within the class.
General Education Goals:
Creating & Critiquing Arts
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Students recognize important historical styles from a variety of world cultures, and can compare them by discussing specific physical, formal, and expressive aspects.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Students use standard music theory vocabulary in describing the melodic, rhythmic, and timbral character of musics from diverse world cultures.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- Students write descriptions of a musical practice they have chosen that includes discussion of its technical, social, historical, and aesthetic foundations.
Multicultural Perspectives
- Demonstrate understanding of culture and cultural identities as dynamic rather than fixed categories, and describe the diverse ways in which they are produced, transformed, and maintained (Introduced)
- Students describe music with reference to its origins and influences from different cultures.
- Students can describe the history of cultural influences that are combined and represented in different but identifiable musical traditions.
- Describe how two or more ethnic groups have interacted in different historical contexts, and be able to discuss the dynamics of that relationship (Introduced)
- Students identify musical styles with reference to the history of different cultures and how they have influenced and interacted with each other.
- Deploy the necessary critical tools to reflect on the artistic, literary, and intellectual traditions of marginalized groups-both nationally and internationally-and to appreciate the diversity of human thought and experience (Introduced)
- Students associate different musics with their origins in different social classes and ethnicities, including those that have been traditionally marginalized in their own cultural context and internationally.
MUS 016: Women, Gender, and Musical Creativity (3 Credits)
Studies in the contributions of women composers and performers to music across space and time, including critical consideration of the intersections of gender and creativity. This course involves listening, reading, lectures and discussion, and draws on historical and critical perspectives to examine the creative lives of musicians ranging from 12th-century visionary, and composer Hildegard von Bingen, romantic pianist-composer Clara Wieck Schumann, and avant-garde teacher Nadia Boulanger, to the iconic Indian playback singer Lata Mangeshkar, and legendary Egyptian singer Umm Kulthum.
Note(s): Graduate Students should seek instructor approval Limit 25 students. Open to undergraduates only.
Meets the following Core requirements: Critical Analysis, International Perspectives, Race, Gender & Power, Written and Oral Communication II
Meets the following Gen Ed requirements: Historical Perspectives, Women and Gender
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
Core Goals:
Critical Analysis
- Students will critically analyze information and ideas. (Practiced)
- Students will examine historical and contemporary reception of women and women’s work in music using critical and theoretical tools developed by feminist musicologists and scholars. They will learn to evaluate the historiography of women’s work, and to recognize how tropes have been/are perpetuated in scholarly and popular writing about women in music as well as interrogate the narratives and theories which have served to confine, frame and explain away women’s creativity in music across time. Students will also examine the work of women who have/are challenging and subverting traditional gender and genre expectations and in music.
- Students will demonstrate the ability to critically evaluate the canonization and reception of musical works by scholars, music critics, and audiences.
- Students will examine issues from multiple perspectives. (Practiced)
- Students read and discuss contrasting perspectives on the roles and responsibilities of the women making music in relation to questions of mentoring and ally-ship. Students also read and discuss different responses by women to issues such as whether there is 'the female voice' discernible in their music.
- Students will engage in an exploration of the relationship between past systems of knowledge and present scholarly and creative approaches within and across disciplines. (Practiced)
- Students explore chapters in the history of women making music across geographical spaces and into the 21st century and in so doing identify connecting themes. They analyze historical source readings which reveal how biological and essentialist theories of sex served to erase and limit women's musical practices; and they explore challenges to the dominant paradigm across time by such femininst musicians Ethyl Smyth, Sojourner Truth, and Pauline Oliveros.
- Students will discuss source readings from various historical periods, considering the differences between composers' and their listeners' beliefs and thoughts, as well as tracing similarities in the history of compositional ideas and philosophies.
- Students will consider how our understanding of significant questions and ideas is informed by the critical, scholarly, and creative approaches through which we approach those questions and ideas. (Practiced)
- Students will explore how particular historical, social, and geographical contexts shape the creative visions of women in music - and how those same contexts shape the vested interests of writers and critics. Students will also consider their own positionality and how it might affect their listening of various musical practices.
- Students will develop discernment, facility and ethical responsibility in using information. (Introduced)
- Students will develop consideration of the ethical implications of talking or writing about music in relation to such dynamics as race, disability, gender, and sexuality since these are contested issues.
- Students learn why and how to reference their work in a responsible academic manner.
- Students will engage as active participants in the College's intellectual community. (Practiced)
- Students will take an active part in academic culture and community by participating in discussions, presenting their work, engaging in peer review, and taking part in an exchange of ideas.
International Perspectives
- Students will reflect on their value systems and way of understanding the world and understand that these are not universal. (Practiced)
- Students will demonstrate an understanding of how they are taught to understand the world from North American perspectives (that is, how non-western cultural systems are processed through a Western, specifically North American lens) and an ability to contrast this understanding with understandings of culture and identity in Egypt, Europe, and other parts of the world.
- Students will analyze the history, arts, politics, language, economy of a non-Western national context using scholarly or creative perspectives from the culture being studied and demonstrate the ability to contrast these with dominant US perspectives. (Practiced)
- Students will examine women's musical work from appropriate perspectives, such as Sister Rosetta Tharpe's gospel music drawing on black feminist theory, or Umm Kulthum as a pan-Arab voice of resistance through an anti-colonial lens which challenges the realities of Islamophobia in western contexts and the marginalization of Arab-Muslim voices.
- Students will demonstrate knowledge of at least one ethnic or national group and its experiences outside of the United States. (Practiced)
- Students examine case-studies of musical women from several different locations outside the US: in one focusing on Umm Kulthum, students analyze the social, political, artistic and cultural traditions and dynamics of Egypt and and of the pan-Arabian consciousness Kulthum galvanized across the Middle East.
- Students will demonstrate knowledge of intellectual and/or creative contributions from at least one culture, country, or region outside of the United States. (Practiced)
- Students analyze musical works by women from different regions and countries outside the US, including from the Indian subcontinent, and from the Arab world, from Italy, and from France. Students contextualize the works through knowledge of the cultural traditions in those regions and countries.
Race, Gender & Power
- Students will demonstrate the ability to analyze race and gender as socially constructed, dynamic identity categories related to systems of power and privilege. (Practiced)
- Students analyze the social construction of gender in music and in writing about music through an anti-imperialist feminist lens, examining the ways in which women's music-making has been controlled and restricted. Students analyze current and historical readings that have theorized the "questions" of women and creativity, gaining perspectives on the ways in which perceptions of gender have been used to exclude women from musical education and professional creativity.
- Students examine women's music-making within particular national and transnational contexts, taking account of social status, perceptions of gender difference, and who controls the production of knowledge.
- Students will analyze the ways in which race and gender intersect with other identity categories including sexuality, class, ethnicity, religion, disability, age, citizenship and nationality. (Practiced)
- Students engage new modes of musical analysis which draw on gender and its intersection with race, class, religion, nationality and disability. Students examine musical case-studies of intersectionality and explore how these dynamics identities are manifest in music and music-making as a cultural practice.
- Students will demonstrate familiarity with the ways that marginalized communities have resisted structures of power through social movements, civic engagement, artistic expression, and scholarship. (Practiced)
- Students examine case-studies focusing on Black Women and Music through the lens of black feminist postcolonial theories in several different contexts: Blues, Gospel, Concert Music and Opera, and analyze the ways in which African American women have challenged and resisted slavery, oppression and racism through powerful musical expression. Students examine a case-study focusing on Umm Kulthum in Egypt and her voice creating a powerful social movement of resistance to Western domination, violence, and imperialism in the Middle East.
- Students will be able to engage with the intellectual and theoretical contributions of marginalized communities, and contrast them with dominant perspectives. (Practiced)
- Students examine case-studies focusing on Black Women and Music through the lens of black feminist postcolonial theories in several different contexts: Blues, Gospel, Concert Music and Opera, and analyze the ways in which African American women have challenged and resisted slavery, oppression and racism through powerful musical expression which contrasts with the dominant musical forms in the USA through the 20th century.
- Students will communicate effectively across differences with an understanding of their own social location. (Practiced)
- Students will consider the implications of their own positionality in terms of social, cultural, and geographical locations and perspectives and will be encouraged to be accountable to these as they participate in group discussions and class listening (music) sessions.
Written & Oral Comm II
- Students will develop skills in writing, digital presentation, and oral communication, as complementary and equal parts of college-level communication and literacy. (Practiced)
- Students will present their responses to assigned listening and reading in a clear, articulate manner, referring to specific musical and/or textual elements from the assigned music/reading in class discussions. They will give formal presentations of their research using presentation software which will include audio and visual components. They will respond to questions from the class, and from designated respondents. They will draft a short paper, respond to feedback, draft a research proposal and an outline, act on feedback, and complete a final paper draft; act on further feedback and submit a final paper.
- Students will be able to move easily and fluently between different rhetorical expectations and formal registers. (Introduced)
- Students will engage in informal exchange to 'brainstorm' ideas during impromptu discussions; equally, they will reflect critically on the studied texts, and present their ideas in a clear and articulate fashion during more structured class discussions that they prepare for. They will write short response papers but will also prepare a polished final research paper. Students will also give a polished presentation using presentation software with audio and visual components.
- Students will develop and refine their own voice and sense of style. (Practiced)
- Students will read a wide variety of texts by musical women, and will listen to a wide variety of music by women from different times and places: these will provide models and inspiration for students to develop their own voices and styles. Practically, they will refine these through 1) regular discussions (learning from each other), along with 2) formal presentations, and 3) writing papers.
- Students will understand the role of drafting, revising, presenting, and receiving, processing and using feedback as important parts of the writing process. (Practiced)
- Students will engage with writing and oral presentation as a process of transformation that emerges from initial ideas, proposal, drafting, revising, and considering (and providing peer) feedback.
General Education Goals:
Historical Perspectives
- Evaluate past events and trends from political, economic, artistic, cultural, philosophical, and social perspectives (Introduced, Practiced)
- Students will evaluate source readings and musical works from the twelfth century to the present day in the context of pertinent social, cultural, artistic and political dynamics through class discussions and written assignments.
- Students will discuss the social and political influences on music by women in different historical periods and include references to the cultural and artistic background of the composer or musical work studied.
- Recognize both differences and similarities between past eras and the present (Introduced, Practiced)
- Students will demonstrate the ability to distinguish between musical works from different historical periods.
- Students will understand the history of formation of the classical music canon as it is today; understand the history of the modern concert and its formation in the nineteenth century.
- Students will discuss source readings from various historical periods, considering the differences between composers' beliefs and thoughts, as well as tracing similarities in the history of compositional ideas and philosophies.
- Critique existing analyses of earlier eras (Introduced)
- Students will question the omission of composers and their music from textbooks on music on the basis of their sex or gender.
- Students will demonstrate the ability to critically evaluate the canonization and reception of musical works by scholars, music critics, and audiences.
Women and Gender
- Demonstrate an awareness of the distinctive contributions of women to culture or history or science (Introduced, Practiced, Mastered)
- Students learn to recognize, describe, and analyze the unique creative contribution of women musicians in the history of music across world traditions.
- Demonstrate awareness of the impact of race, class, national origin, and other significant differences as well as the commonalties in women's experience (Introduced, Practiced)
- Students gain understanding of how women musicians' experiences across different countries, times, and places, share certain common factors and often obstacles which need to be overcome in order to succeed in their creative endeavors. Examination of a selection of women musicians within their particular national contexts, taking account of social status and perceptions of gender difference, will enable students to grasp the differences between women musicians' experiences in different parts of the world - such as India, Egypt, Britain, France, Germany, Cuba, and the USA.
- Analyze current and past social issues pertaining to gender (Introduced)
- Students analyze current and historical readings that have theorized the "questions" of women and creativity, and women and music, gaining perspectives on the ways in which perceptions of gender have been used to exclude women from musical education and professional creativity.
- Students examine present-day case-studies of women in the highest level positions in music - such as the very few artistic directors and conductors of symphony orchestras - in order to learn how gender continues to play a role in our social, cultural, and artistic lives in the USA as well as in other parts of the world.
MUS 020: American Music (3 Credits)
Selected topics in the musical and cultural history of American music, with emphasis on the multicultural sources of American folk, popular, and art music traditions. This course concentrates on listening to, reading about, and writing on American music from literary, historical, cultural, and musical perspectives. Music majors are required to write an extensive musical analysis, while non-music majors can focus instead on the literary, historical, and sociological aspects of the music under discussion.
Meets the following Core requirements: Create, Innovate & Experiment, Written and Oral Communication II
Meets the following Gen Ed requirements: Creation and Criticism in the Arts, Multicultural Perspectives, Written Communication
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced, Mastered)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
Core Goals:
Create, Innovate & Experiment
- Students will extend their creative strengths and skills. (Practiced)
- Students have expanded their knowledge about past and present musical practices in American culture, improved their ability to describe it in musical terms, and can discuss its social and political context within American history.
- Students will design or produce work that demonstrates independent thinking, originality, and inventiveness. (Practiced)
- Student have written papers on musical topics that they have selected, and have written original essays that analyze the music in ways appropriate to their own skills and experience.
- Students will produce innovative solutions to real-world problems. (Practiced)
- Students have addressed in the essays questions about how music represents aesthetic responses to social and political movements in American culture. They propose innovative ways in which art and society are interrelated.
Written & Oral Comm II
- Students will develop skills in writing, digital presentation, and oral communication, as complementary and equal parts of college-level communication and literacy. (Practiced)
- Students create written assignments and present some of them in oral presentations to the class class. They use digital media extensively in accessing class resources for assignments and doing their own research, and can use them fluidly as part of oral presentations.
- Students will be able to move easily and fluently between different rhetorical expectations and formal registers. (Practiced)
- Students learn formal discourse in their writing assignments, and adapt and expand on them when presenting them orally in class. Students also learn to express their ideas informally through interactive class discussions.
- Students will develop and refine their own voice and sense of style. (Practiced)
- Students have learned to use the process of writing to develop their original thoughts and ideas, structuring their essays with clearly distinguished formal sections of exposition, analysis, and conclusion.
- Students will practice and refine different forms of communication that are appropriate for the multiple contexts and disciplines that they engage with. (Practiced)
- Students have learned from reading assignments about the scholarly and professional practice of writing about music. They have also learned how to interpret information about music found in original source material, including interviews with musicians and biographies. They know how to differently express what they have learned from multiple sources in their written assignments, in class oral presentations, and in interactive discussions.
- Students will understand thoroughly the relationship between form and content, (Practiced)
- Students can explain the relationship between form and content in musical works. They can structure their writing similarly, so that the form and content of their descriptions and analyses inform each other. They use the art of writing to describe the art of music; they have learned, as in the immortal words of Thelonious Monk, that "writing about music, is like dancing about architecture".
- Students will understand the role of drafting, revising, presenting, and receiving, processing and using feedback as important parts of the writing process. (Practiced)
- Students have received editing and feedback from the instructor on every paper they have written for the class. They have also practiced editing by serving as peer-editors of papers by other students in the class. They have taken advantage of the help available to them through the Writing Center.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Students are able to describe and compare critically the character of different styles from past and present American musical culture.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Students will analyze a specific musical work, addressing such important artistic concepts as medium, form, device or gesture.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Students will use the correct basic terminology for describing music in their descriptions of musical pieces, performances, and styles.
Multicultural Perspectives
- Demonstrate understanding of culture and cultural identities as dynamic rather than fixed categories, and describe the diverse ways in which they are produced, transformed, and maintained (Introduced, Practiced)
- Students' oral participation and written work emphasizes the dynamic aspects of the history of diverse musical styles.
- Describe how two or more ethnic groups have interacted in different historical contexts, and be able to discuss the dynamics of that relationship (Introduced, Practiced)
- Students can describe American musical styles in terms of how they combine influences from two or more ethnic groups, and can provide an informed historical interpretation of how this reflects their changing social relationships.
- Deploy the necessary critical tools to reflect on the artistic, literary, and intellectual traditions of marginalized groups-both nationally and internationally-and to appreciate the diversity of human thought and experience (Introduced, Practiced)
- Students' oral participation and written work use critical techniques to emphasize the diversity of cultural origin and social purpose of music-making, demonstrated in class discussions and assigned essays.
Written Communication II
- B. Write clearly organized essays with the following characteristics: effective paragraphing, thesis development, transitions, use and interpretation of evidence, evidence of larger structure and organization (Practiced, Mastered)
- Student's essays and research paper demonstrate standard and effective written organizational methods.
- D. Use draft and revision processes, demonstrate understanding of different stages of the writing process, and engage in editing and revision of peer essays (Practiced, Mastered)
- Students' final paper assignment will require participation in draft and peer revision process.
- Be familiar with and able to use the tools and resources of an academic library in addition to Internet resources (Practiced, Mastered)
- Student will base her research paper at least in part on library resources.
- Be competent in the use of the citation style appropriate to a discipline (Practiced, Mastered)
- Student demonstrates appropriate citation style in her music research paper.
MUS 025: Mills College Choir (1 Credits)
The Mills College Choir is a non-audition vocal ensemble that performs a great variety of literature for women's voices from the Renaissance to the 21st century. Its members represent a wide range of academic disciplines from across the campus. Our goal is to create a supportive community working toward a common artistic goal and striving for excellence not only as individuals, but also as a group. The ability to read music is not required, and we do not hold auditions. However, you must be able to carry a tune and sing in the range of alto or soprano.
Instructor Consent Required: Y
MUS 026: Music Improvisation Ensemble I (1 Credits)
MIE is an instrumental/vocal ensemble devoted to intensive work on non-idiomatic (and pan-idiomatic) improvisation. Some basic instrumental or vocal experience is required. The focus of the course is on careful listening, sensitivity to the moment, creating an atmosphere of mutual respect, and developing a vocabulary which allows players to compose spontaneously with others.
Note(s): Acceptance into the course is determined by an informal audition that takes place during the first session of the semester. The purpose of the audition is to assess your level of technical ability and experience of playing with others. Graduates admitted with the consent of the instructor(s). Limit 15 students. Open to undergraduates only.
Instructor Consent Required: Y
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Introduced, Practiced)
- Learning the skills appropriate for, or specific to, a range of different musical styles.
- Developing improvisational skills, including the ability to listen, to respond effectively, to make good choices, and to be sensitive to the musical, social, and acoustical environment.
- Demonstrating the ability to conceptualize, plan, problem-solve, perfect, and realize performances, from both technical and aesthetic points of view.
- Learning how to interact with computer-based musical processes, or to produce real-time computer music that incorporates improvisation.
MUS 027: Contemporary Performance Ensemble (1 Credits)
This ensemble is dedicated to the study and performance of contemporary music from a wide range of perspectives, including both established "classics" and selected new works written by student composers especially for the group. All instruments and voices are welcome. Auditions for new members of the ensemble are held during the first session of each semester.
Note(s): Open to undergraduates only.
Instructor Consent Required: Y
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced)
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Introduced, Practiced)
- Learning how to interact with computer-based musical processes, or to produce real-time computer music that incorporates improvisation.
- Developing improvisational skills, including the ability to listen, to respond effectively, to make good choices, and to be sensitive to the musical, social, and acoustical environment.
- Learning the skills appropriate for, or specific to, a range of different musical styles.
- Demonstrating the ability to conceptualize, plan, problem-solve, perfect, and realize performances, from both technical and aesthetic points of view.
MUS 27E: ADVANCED VOCAL ENSEMBLE (0.25-0.5 Credits)
MUS 028: Gamelan Ensemble (1-2 Credits)
The performance practice and theory of Javanese gamelan music are studied through playing and composing in this traditional Indonesian percussion ensemble, using the famed American gamelan built by composer Lou Harrison with William Colvig. All levels of musical expertise are welcome.
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
MUS 029: Haitian Drumming (1 Credits)
Renowned master of Haitian drumming Daniel Brevil has worked to foster an understanding of Haiti, its traditions, and its distinct cultural expressions. Students will study basic patterns of the traditional rhythms and songs from Port Au Prince (Haiti) and small creole dialog. This course will also provide students with an introduction to the culture and history of Haiti.
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
MUS 030: Vocal Jazz Improvisation Ensemble (1 Credits)
The ability to sing in tune is required; an adventurous spirit is suggested. This class explores the boundaries of vocal ensemble through an array of improvisational exercises and jazz tunes. Voice technique; ensemble blend and balance; and jazz rhythms, song forms, and scat singing are also integral to this work which often yields greater personal and creative freedom. Culminates in an evening class performance.
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Introduced, Practiced, Mastered)
- Learning how to interact with computer-based musical processes, or to produce real-time computer music that incorporates improvisation.
- Learning the skills appropriate for, or specific to, a range of different musical styles.
- Developing improvisational skills, including the ability to listen, to respond effectively, to make good choices, and to be sensitive to the musical, social, and acoustical environment.
- Demonstrating the ability to conceptualize, plan, problem-solve, perfect, and realize performances, from both technical and aesthetic points of view.
MUS 031: Performance Collective (1 Credits)
Performance Collective is devoted to the practice and performance of vocal and instrumental chamber music from the Baroque era to the 21st century. Through participation in weekly master classes students enhance chamber music skills, develop interpretations of a variety of musical styles and periods, and prepare and perform concerts held in Mills Hall and Littlefield Concert Hall. Students form a true collective by performing practical tasks of a concert as well as their chosen repertoire. Prerequisite: At least one year of private instruction. Entrance determined by informal audition.
Note(s): Entry to the course is determined by informal audition.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Practiced, Mastered)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Practiced, Mastered)
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Practiced)
- Demonstrating an understanding of a range of compositional techniques, analytical methods, and important issues in music criticism.
- Being able to distinguish between different musical forms, as well as determine the age of a piece of music through critical (aural and written) analysis.
- Developing a strong grasp of the language of Western music through at least three of the following learning skills: musicianship (aural training), theory, listening, history, score-reading, analysis, practice, composition.
- Differentiating concepts of melody and harmony between historical and contemporary musical styles.
- Understanding that learning music as a language involves studies in vocabulary, grammar and syntax, as well as in larger forms, all of which can be understood as structures of cultural and artistic expression.
MUS 032: Early Music Vocal Ensemble-Beginning (1 Credits)
The purpose of this vocal ensemble is to study and perform early music. Emphasis is on the musical styles and forms of the Middle Ages, Renaissance, and Baroque periods. Students will develop their ability to perform in small ensembles and improve such aspects of singing as intonation, articulation, phrasing, balance, and interpretation. This course is geared toward students and faculty who have not had much vocal or choral experience and have beginning sight-reading skills.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
MUS 033: Early Music Vocal Ensemble (1 Credits)
The purpose of this vocal ensemble is to study and perform early music. Emphasis is on the musical styles and forms of the Middle Ages, Renaissance, and Baroque periods. Students will develop their ability to perform in small ensembles and improve such aspects of singing as intonation, articulation, phrasing, balance, and interpretation. This course is designed for students and faculty with choral experience and sight reading skills.
Note(s): Open to undergraduates only.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced, Mastered)
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
MUS 034: Early Music Instrumental Ensemble (1 Credits)
The Mills Early Music Instrumental Ensemble explores the fascinating and gorgeous repertoires of the Medieval, Renaissance, and the Baroque periods. All instruments are welcome, modern or early. No prior experience in early music is required, just a sense of musical adventure! This class will include some basic improvisation exercises as well as ensemble techniques, stylistic differences in the various eras and countries, ornamentation and divisions, musicianship, and more, all which will apply directly to the music we’ll work on for a short performance. Students must be able to read music.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
MUS 035: Early Music Ensemble-Baroque (1 Credits)
This class explores the music of the 17th and 18th centuries for mixed ensembles of instruments and voices. All instrumentalists and singers are welcome. The department has harpsichords for keyboard players who wish to gain experience playing figured bass. The course will culminate in a lunchtime concert. Participation in the Baroque Ensemble will develop skills in rhythm, sight-reading, intonation, ensemble playing, and ornamentation.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
MUS 040: The Technique and Mystery of Singing (2 Credits)
The Technique and Mystery of Singing introduces and reinforces the foundational techniques of singing, tone production, musicianship, and interpretation. This class is designed to explore and develop the singing voice in each student while covering the basic elements of vocal technique, including analysis of individual problems and corrective solutions.
Note(s): Open to undergraduates only.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
MUS 043: Mills College Percussion Group (1 Credits)
This ensemble performs music based on percussion that sometimes includes other instruments, from a tradition started at Mills College in the 1930s by composers Lou Harrison, Henry Cowell, and John Cage. It performs both classic works from the 20th century, and new pieces written especially for the group.
Note(s): Students must be able to read music proficiently. Limit 12 students. Open to undergraduates only.
Instructor Consent Required: Y
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
MUS 047: Introduction to Electronic Music (4 Credits)
Introduction to the techniques and theory of electronic music and basic recording techniques. Introduction to acoustics, the operation of standard analog electronic audio modules, and a survey of the compositional and artistic developments of the last 50 years. Hands-on experience in electronic music composition, recording, multi-tracking, signal processing, mixing, and creation of short compositions and studies using these resources.
Note(s): Open to non-majors. No previous music experience is required. Limit 17 students.
Meets the following Core requirements: Create, Innovate & Experiment
Meets the following Gen Ed requirements: Creation and Criticism in the Arts
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced)
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Introduced)
- Understanding that learning music as a language involves studies in vocabulary, grammar and syntax, as well as in larger forms, all of which can be understood as structures of cultural and artistic expression.
- Demonstrating an understanding of a range of compositional techniques, analytical methods, and important issues in music criticism.
- Differentiating concepts of melody and harmony between historical and contemporary musical styles.
- Being able to distinguish between different musical forms, as well as determine the age of a piece of music through critical (aural and written) analysis.
- Developing a strong grasp of the language of Western music through at least three of the following learning skills: musicianship (aural training), theory, listening, history, score-reading, analysis, practice, composition.
Core Goals:
Create, Innovate & Experiment
- Students will extend their creative strengths and skills. (Introduced, Practiced)
- Students will actively engage in the creation of exercises and works in the medium of electronic music. Student work will be presented and critiqued throughout the semester, and will demonstrate their technical skills, and an understanding of the processes and creative possibilities of the medium.
- Students will design or produce work that demonstrates independent thinking, originality, and inventiveness. (Introduced, Practiced)
- Students will engage in experimentation with independent, innovative ideas and original approaches to electronic music and the works they create in the medium of electronic music.
- Students will produce innovative solutions to real-world problems. (Introduced, Practiced)
- In the creation of works, students will learn skills and problem solving in electronic music and audio recording that are applicable to real-world jobs in a wide variety of technological industries/disciplines.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Students will actively engage in the creation of exercises and works in the medium of electronic music. Student work will be presented and critiqued throughout the semester, and will demonstrate an understanding of the processes and creative possibilities of the medium.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Students will apply their knowledge of compositional concepts when creating works in this medium.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Students will listen critically to the sounds they, their peers, and established artists create and they will use appropriate technical and aesthetic terms that they will learn in discussions of these works.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- In discussions students will respond to artistic works of their own making, that of their peers, and established artists regarding form, style, technique, and aesthetics.
- Understand or use collaborative techniques for the creation of an artistic or literary work (Introduced)
- Working in teams is encouraged, although each student is responsible for presenting their own individual work. Students also work collaboratively on a class project in which each student contributes individual work, and they will work in teams to mix all of their works together to form a new composition.
MUS 054: Introduction to Computer Music (4 Credits)
Introduction to the theory, techniques, and literature of computer music via a hands-on, practical studio approach. Course includes a music- and art-oriented guide to computers—their architecture, programming, data structures, real-time control, and input-output techniques. Students will learn basic programming techniques on computer music systems. In addition, the course includes a survey of developments in computer music, and special activities in and around the Center for Contemporary Music.
Note(s): No previous music or computer experience is required. Limit 20 students.
Meets the following Core requirements: Create, Innovate & Experiment
Meets the following Gen Ed requirements: Creation and Criticism in the Arts
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced)
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Introduced)
- Demonstrating an understanding of a range of compositional techniques, analytical methods, and important issues in music criticism.
- Understanding that learning music as a language involves studies in vocabulary, grammar and syntax, as well as in larger forms, all of which can be understood as structures of cultural and artistic expression.
- Differentiating concepts of melody and harmony between historical and contemporary musical styles.
- Being able to distinguish between different musical forms, as well as determine the age of a piece of music through critical (aural and written) analysis.
- Developing a strong grasp of the language of Western music through at least three of the following learning skills: musicianship (aural training), theory, listening, history, score-reading, analysis, practice, composition.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Introduced, Practiced, Mastered)
- Learning the skills appropriate for, or specific to, a range of different musical styles.
- Demonstrating the ability to conceptualize, plan, problem-solve, perfect, and realize performances, from both technical and aesthetic points of view.
- Developing improvisational skills, including the ability to listen, to respond effectively, to make good choices, and to be sensitive to the musical, social, and acoustical environment.
- Learning how to interact with computer-based musical processes, or to produce real-time computer music that incorporates improvisation.
- For composers: To demonstrate the ability to write music, technical skills in the use of electronic and recording media, and an understanding of how to use these skills for creative ends. (Introduced, Practiced, Mastered)
- Creatively applying the theory of and skills in electronic and computer music and recording technology.
- Understanding how to collaborate with performers in order to make clear the intentions of the work and to realize them effectively.
- Creating original work that demonstrates a clear conceptual framework, the ability to solve problems, skillful execution, and an understanding of acoustics.
Core Goals:
Create, Innovate & Experiment
- Students will extend their creative strengths and skills. (Introduced, Practiced)
- Students will create musical pieces by programming computers to generate sound. They will learn to identify and differentiate sound synthesis techniques and apply them in new and musically effective ways.
- Students will design or produce work that demonstrates independent thinking, originality, and inventiveness. (Introduced, Practiced)
- Students will build projects using their own imaginative resources and aesthetic judgment. They will expand their musical imaginations by extending basic musical concepts into new musical areas.
- Students will produce innovative solutions to real-world problems. (Introduced)
- Students will design software structures that realize stylistic attributes of their own choosing. They will learn fundamental concepts of computer architecture and programming in a creative context that can by applied in real-world jobs in technological industries.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Create pieces of electronic music using computers.
- Develop music listening skills through critical evaluation of computer music compositions.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Apply artistic concepts to the electronic sound medium through the creation of computer music.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Articulate thoughts and feelings in response to other students' computer music compositions in class presentations and discussions.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- Discuss issues of genre, form, and style in relation to historical and contemporary computer music composition through the creation of listening journals.
MUS 056: Musical Form: Listening and Analysis (4 Credits)
An introduction to the analysis of Western classical music forms such as binary, rondo, minuet and trio, and sonata form, involving further study of tonal and chromatic harmony. Repertory is drawn from major orchestral, keyboard, chamber, and vocal works of the 18th and 19th centuries. Studies involve aural and written analyses of key elements of musical form, including structure, style, texture, scoring, modulation, rhythm, melody, and harmony.
Prerequisite(s): MUS 006
Note(s): Students who have not taken MUS 006 but who have prior training in the theory and practice of music are encouraged to contact the professor to discuss whether this is the right course for them. The course is open to non-majors who have sufficient musical training. Limit 15 students.
Meets the following Core requirements: Create, Innovate & Experiment
Meets the following Gen Ed requirements: Creation and Criticism in the Arts, Historical Perspectives
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Introduced, Practiced)
- Being able to distinguish between different musical forms, as well as determine the age of a piece of music through critical (aural and written) analysis.
- Differentiating concepts of melody and harmony between historical and contemporary musical styles.
- Demonstrating an understanding of a range of compositional techniques, analytical methods, and important issues in music criticism.
- Developing a strong grasp of the language of Western music through at least three of the following learning skills: musicianship (aural training), theory, listening, history, score-reading, analysis, practice, composition.
- Understanding that learning music as a language involves studies in vocabulary, grammar and syntax, as well as in larger forms, all of which can be understood as structures of cultural and artistic expression.
Core Goals:
Create, Innovate & Experiment
- Students will extend their creative strengths and skills. (Practiced)
- Students will analyze music through processes of listening and reading scores and identify key elements in musical forms.
- Students can use chromatic chords in their own musical compositions, and identify them in existing music.
- Students will design or produce work that demonstrates independent thinking, originality, and inventiveness. (Practiced)
- Students present a individual project to the class that reveals an independent, critical commentary and analysis on a piece of music. Students show inventiveness by focusing on elements of form, style and harmony which are striking and which provide the key to "the aesthetic and creative magic" of a particular piece.
- Students will produce innovative solutions to real-world problems. (Practiced)
- Students prepare and present a critical analysis of a piece of music, rather like a professional performer, professor or conductor would do in the "real world."
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Analyze music through processes of listening and reading scores.
- Engage in the creative process by composing their own examples of certain musical forms, following models and instructions for style and form, and, through the process, will understand how a work of art comes into being.
- Identify key elements in musical forms.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Use analytical skills to identify elements of musical form such as scoring, structure, style, melody, rhythm and harmony.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Learn the essential terminology used in music theory and in the critical analysis of music, and demonstrate confidence in their powers of expression by utilizing that terminology.
- Recognize Italian musical terms and expressive indications used on musical scores.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- Compose their own examples of certain musical forms, using examples introduced in class as models of form and style.
- Be able to use the basic tools of music analysis and write a critical commentary on a piece of music in which form, style, scoring, texture, period, melody, rhythm and harmony must be taken into consideration.
Historical Perspectives
- Evaluate past events and trends from political, economic, artistic, cultural, philosophical, and social perspectives (Introduced, Practiced)
- Compare and critique musical forms from c.1720-1900 using basic tools of musical analysis.
- Be able to listen to and/or look at a piece of music from c.1720-1900 and be able to place it in its stylistic period
- Recognize both differences and similarities between past eras and the present (Introduced)
- Assess musical forms of the past by considering their grounding in the two key elements of musical construction: contrast and repetition.
MUS 057: Individual Instruction - Instrumental (1 Credits)
Lessons are not covered by tuition and must be arranged in person through the Music Department's administrative assistant prior to the first day of classes. Students may audition for lesson scholarships which must be applied for through the Music Department's administrative assistant prior to the first day of classes.
Note(s): See individual lesson instructors in faculty roster.
MUS 057A: INDIV INSTRUM-CELLO (0.25-1.25 Credits)
MUS 057AA: Indiv Inst Instruction: Bass (0.25 Credits)
MUS 057B: INDIV INSTRUM INST-CLARINET (0.25 Credits)
MUS 057C: Indiv Instr Instruction: Flute (0.25-0.5 Credits)
MUS 057F: Indiv Inst Instr: Organ (0.25-0.5 Credits)
MUS 057G: Indiv Instr Instruction: Piano (1 Credits)
MUS 057I: INDIV INSTRUN INST-VIOLIN (1 Credits)
MUS 057J: INDIV INST PERF & COMP-VIOLA (1 Credits)
MUS 057L: Indiv Instrum Instr: Saxophone (0.25 Credits)
MUS 057O: INDIV INSTRUM INST-TRUMPET (1 Credits)
MUS 057P: Indiv Inst Instr: Percussion (0.25-0.5 Credits)
MUS 057Q: INDIV INSTRUM INST - GUITAR (0.25-0.5 Credits)
MUS 057R: INDIV INSTRUM INST - COMPOSITI (0.25-0.5 Credits)
MUS 057U: Indiv Intrum Instr:French Horn (0.25 Credits)
MUS 057W: Indiv Instrum Instr: Banjo (0.25-0.5 Credits)
MUS 057X: Indiv Instrum Instr: Elec Bass (0.25-0.5 Credits)
MUS 057Y: Indiv Instrum Instr: Mandolin (0.25-0.5 Credits)
MUS 57G: Indiv Instruct in Performance (1 Credits)
MUS 57W: Indiv Instr:Viola Da Gamba (0.25-0.5 Credits)
MUS 059: Individual Instruction - Voice (1 Credits)
Lessons are not covered by tuition and must be arranged in person through the Music Department's administrative assistant prior to the first day of classes. Students may audition for lesson scholarships which must be applied for through the Music Department's administrative assistant prior to the first day of classes.
Note(s): See individual lesson instructors in faculty roster.
MUS 059CC: Indiv Instrction in Voice (1 Credits)
MUS 070: African American Music: The Meaning and the Message (3 Credits)
This course is an exploration through discussion into the ideology of "African American" music, encouraging participants to reflect on how and why this music came to be so labeled. We will concentrate on pivotal periods in the evolution of this concept, highlighting the Harlem Renaissance and the Black Nationalism movement and their influence on America and world cultures.
Meets the following Gen Ed requirements: Creation and Criticism in the Arts, Multicultural Perspectives
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced)
- Students will learn about the role of music in the Harlem Renaissance and the black nationalism movement and their influence on American and world cultures.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Students will learn to distinguish between various historical styles and genres of African-American music, as well as understanding their multicultural roots and influences.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Students will develop the ability to research, present, and document an oral presentation on a selected topic from the history of African American music.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Students use correct musical terminology in expressing an informed and critical perspective about African American musical traditions.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- Students present their own research on a topic from the history of African American that describes the relationship between musical style, social function, and historical influences.
Multicultural Perspectives
- Demonstrate understanding of culture and cultural identities as dynamic rather than fixed categories, and describe the diverse ways in which they are produced, transformed, and maintained (Introduced, Practiced)
- Students will learn about African-American music as a musical tradition that has changed continuously in relationship to its changing social and cultural context. The creation of an ideology that formed an identity for African-American music will be studied in order to understand its purpose and effect on the music.
- Demonstrate an understanding of processes of group formation and describe how marginalized groups have used diverse strategies to challenge racism and discrimination (Introduced, Practiced)
- Students will learn about the ways in which African-American music provided a response to, and a survival strategy for the conditions of slavery in America.
- Deploy the necessary critical tools to reflect on the artistic, literary, and intellectual traditions of marginalized groups-both nationally and internationally-and to appreciate the diversity of human thought and experience (Introduced, Practiced)
- Students will learn about the close interconnections of African-American music with other African-American literary, visual, and performance art forms to create cultural movements that have influenced America and cultures around the world.
MUS 101: 20th-Century Styles and Techniques I: 1900–1945 (3 Credits)
This course focuses on developments in 20th-century music from the turn of the century to the Second World War and ends with a survey of musical developments after 1945. It examines the history of 20th-century music within its cultural and intellectual context, focusing on a broad range of repertories from the “mainstream” to experimental traditions and the avant-garde. The course also explores interactions between 20th-century Western “art music,” popular music, and music from other cultures.
Meets the following Core requirements: Create, Innovate & Experiment
Meets the following Gen Ed requirements: Creation and Criticism in the Arts, Historical Perspectives
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Practiced)
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Practiced)
- Demonstrating an understanding of a range of compositional techniques, analytical methods, and important issues in music criticism.
- Understanding that learning music as a language involves studies in vocabulary, grammar and syntax, as well as in larger forms, all of which can be understood as structures of cultural and artistic expression.
- Differentiating concepts of melody and harmony between historical and contemporary musical styles.
- Developing a strong grasp of the language of Western music through at least three of the following learning skills: musicianship (aural training), theory, listening, history, score-reading, analysis, practice, composition.
- Being able to distinguish between different musical forms, as well as determine the age of a piece of music through critical (aural and written) analysis.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Introduced)
- Learning how to interact with computer-based musical processes, or to produce real-time computer music that incorporates improvisation.
- Developing improvisational skills, including the ability to listen, to respond effectively, to make good choices, and to be sensitive to the musical, social, and acoustical environment.
- Demonstrating the ability to conceptualize, plan, problem-solve, perfect, and realize performances, from both technical and aesthetic points of view.
- Learning the skills appropriate for, or specific to, a range of different musical styles.
Core Goals:
Create, Innovate & Experiment
- Students will extend their creative strengths and skills. (Practiced)
- Class discussions as well as written assignments on the listening experience and musical criticism focusing on aesthetic issues will develop students'' creative strengths and skills.
- Students will design or produce work that demonstrates independent thinking, originality, and inventiveness. (Practiced)
- Students will write essays, journals, and a paper that demonstrate independent thinking, originality, and inventiveness in their interpretations of musical works and aesthetic issues relating to twentieth-century music.
- Students will produce innovative solutions to real-world problems. (Practiced)
- Class discussions will address issues relating to the accessibility of twentieth-century music to larger audiences and develop solutions to this problem.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Practiced)
- Write critical essays examing specific works as well as crucial historical and aesthetic issues in 20th century music.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Practiced)
- Demonstrate an undestanding of compositional techniques and different approaches to musical form in the 20th century.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Practiced)
- Demonstrate knowledge of analytical methods and approaches used in musical criticism applied to 20th century music.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Practiced)
- Demonstrate the ability to write critical essays on specific works focussing on style, reception, aesthetic, technical, and formal issues
Historical Perspectives
- Evaluate past events and trends from political, economic, artistic, cultural, philosophical, and social perspectives (Practiced)
- Demonstrate knowledge of the history of 20th-century music within its cultural, intellectual, political, and social contexts
- Recognize both differences and similarities between past eras and the present (Practiced)
- Demonstrate knowledge of 20th century works based upon a reinterpretation of musical styles from the past.
- Critique existing analyses of earlier eras (Practiced)
- Demonstrate the ability to critically evaluate the reception of 20th century works by scholars, journalists, and the general public.
MUS 102: Experimental Music: From 1952 to the Present (3 Credits)
This course focuses on major developments in Experimental Music in the 20th and 21st centuries. Beginning with John Cage's notorious "silent" piece, 4'33", it extends the traditional definition of experimentalism to a musical movement that is global, multiethnic, and stylistically heterogeneous and includes music by Björk, the Art Ensemble of Chicago, Yoko Ono, Julius Eastman, Sonic Youth, Pauline Oliveros, Laurie Anderson. José Maceda, Halim El-Dabh, and many others.
Meets the following Core requirements: Create, Innovate & Experiment
Meets the following Gen Ed requirements: Creation and Criticism in the Arts, Historical Perspectives
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced)
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Practiced)
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
Core Goals:
Create, Innovate & Experiment
- Students will extend their creative strengths and skills. (Practiced)
- Class discussions as well as written assignments on the listening experience and musical criticism focusing on aesthetic issues will develop students'' creative strengths and skills.
- Students will design or produce work that demonstrates independent thinking, originality, and inventiveness. (Practiced)
- Students will write essays, journals, and a paper that demonstrate independent thinking, originality, and inventiveness [sic] in their interpretations of musical works and aesthetic issues relating to 20th and 21st century music.
- Class discussions will address issues relating to the accessibility of 20th and 21st century music to larger audiences and develop solutions to this problem.
- Students will produce innovative solutions to real-world problems. (Practiced)
- Class discussions will address issues relating to the accessibility of 20th and 21st century music to larger audiences and develop solutions to this problem.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Practiced)
- Writes critical essays examining specific works as well as crucial historical and aesthetic issues in 20th and 21st century music.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Practiced)
- Demonstrates an understanding of various 20th and 21st century compositional techniques, and approaches to musical form.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Practiced)
- Demonstrates knowledge of analytical methods and approaches used in musical criticism applied to 20th and 21st century music.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Practiced)
- Writes critical essays on specific works focusing on style, reception, aesthetic, technical, and formal issues.
Historical Perspectives
- Evaluate past events and trends from political, economic, artistic, cultural, philosophical, and social perspectives (Practiced)
- Demonstrate knowledge of the history of 20th and 21st century music within its cultural, intellectual, political, and social contexts.
- Recognize both differences and similarities between past eras and the present (Practiced)
- Demonstrates knowledge of 20th and 21st century works based on a reinterpretation of musical styles from the past.
- Critique existing analyses of earlier eras (Practiced)
- Critically evaluates the reception of 20th and 21st century works by scholars, journalists, and the general public.
MUS 107: Individual Instruction - Instrumental and Composition (1-2 Credits)
Private lessons in the performance of musical instruments. Lessons are not covered by tuition and must be arranged in person through the Music Department's administrative assistant prior to the first day of classes. Students may audition for lesson scholarships which must be applied for through the Music Department's administrative assistant prior to the first day of classes.
Note(s): See individual lesson instructors in faculty roster. Open to undergraduates only.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Introduced, Practiced)
- Developing improvisational skills, including the ability to listen, to respond effectively, to make good choices, and to be sensitive to the musical, social, and acoustical environment.
- Demonstrating the ability to conceptualize, plan, problem-solve, perfect, and realize performances, from both technical and aesthetic points of view.
- Learning the skills appropriate for, or specific to, a range of different musical styles.
- Learning how to interact with computer-based musical processes, or to produce real-time computer music that incorporates improvisation.
MUS 107A: Indiv Instr Instruction: Cello (0.25-0.5 Credits)
MUS 107AA: Indiv Inst Instruction: Bass (0.25 Credits)
MUS 107B: Individ Instrum Inst-Clarinet (0.25-0.5 Credits)
MUS 107BB: Indiv Instruct Instru-Sitar (0.25-0.5 Credits)
MUS 107C: INDIV INSTRUM INST-FLUTE (0.25-0.5 Credits)
MUS 107D: Indiv Instr Instruction: Harp (0.25-0.5 Credits)
MUS 107E: INDIV INSTRUM INST - OBOE (1-2 Credits)
MUS 107F: Ind Instr Instruct:Harpsichord (0.25-0.5 Credits)
MUS 107G: Indiv Instr Instruction: Piano (1-2 Credits)
MUS 107I: INDIV INSTRUM INST-VIOLIN (1-2 Credits)
MUS 107J: INDIV INSTRUM INST - VIOLA (1-2 Credits)
MUS 107L: Indiv Instrum Instr: Saxophone (1-2 Credits)
MUS 107M: Indiv Instru Instr:Harpsichord (0.25-0.5 Credits)
MUS 107O: Indiv Instrum Inst: Trumpet (1-2 Credits)
MUS 107P: INDIV INST PERF - PERCUSSION (1-2 Credits)
MUS 107Q: INDIV INSTRUM INST - GUITAR (0.25-0.5 Credits)
MUS 107R: INDIV INSTRUM INST - COMPOSITI (1-2 Credits)
MUS 107S: Indiv Instrum Instr: Gamelan (1-2 Credits)
MUS 107T: INDIV INST PERF -DOUBLE BASS (1-2 Credits)
MUS 107V: Indiv Instrum Instr: Trombone (0.25-0.5 Credits)
MUS 107X: Indiv Instrum Instr: Elec Bass (0.25-0.5 Credits)
MUS 107Y: Indiv Instrum Instr: Mandolin (0.25-0.5 Credits)
MUS 107Z: Indiv Instrum Instr: Banjo (0.25-0.5 Credits)
MUS 109: Individual Instruction - Voice (1-2 Credits)
Private lessons in vocal performance. Lessons are not covered by tuition and must be arranged in person through the Music Department's administrative assistant prior to the first day of classes. Students may audition for lesson scholarships which must be applied for through the Music Department's administrative assistant prior to the first day of classes.
Note(s): See individual lesson instructors in faculty roster. Open to undergraduates only.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Introduced, Practiced)
- Developing improvisational skills, including the ability to listen, to respond effectively, to make good choices, and to be sensitive to the musical, social, and acoustical environment.
- Demonstrating the ability to conceptualize, plan, problem-solve, perfect, and realize performances, from both technical and aesthetic points of view.
- Learning the skills appropriate for, or specific to, a range of different musical styles.
- Learning how to interact with computer-based musical processes, or to produce real-time computer music that incorporates improvisation.
MUS 109CC: Individ Instr Voice (1-2 Credits)
MUS 111: Improvisation Workshop (4 Credits)
This course will offer practical experience of non-idiomatic or pan-idiomatic improvisation in small and large group contexts. Emphasis will be on listening, understanding social structures and how they affect improvisation, basic ear training to improve rhythmic and melodic skills, and building self-confidence. Students should have at least intermediate instrumental or vocal skills.
Instructor Consent Required: Y
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Practiced)
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Practiced, Mastered)
- Learning how to interact with computer-based musical processes, or to produce real-time computer music that incorporates improvisation.
- Learning the skills appropriate for, or specific to, a range of different musical styles.
- Developing improvisational skills, including the ability to listen, to respond effectively, to make good choices, and to be sensitive to the musical, social, and acoustical environment.
- Demonstrating the ability to conceptualize, plan, problem-solve, perfect, and realize performances, from both technical and aesthetic points of view.
MUS 113: Intermedia Collaborations (3 Credits)
This interdisciplinary course is focused on late 20th-century creativity, improvisation, and interactive media. Students from different arts disciplines will survey significant collaborative works and current technologies and engage in collaborative projects for live performance, Internet broadcast, and other performance technologies. Students will also identify and interview Bay Area professional women in creative music, visual arts, literature, and theater and create a website linked with the existing Bay Area Women in Creative Music website.
MUS 114: Musics of the World: Southeast Asia, Korea and Japan (3 Credits)
A survey of music from a variety of the world's cultures provide a global perspective on music making. Music is studied as a phenomenon of cultural evolution in order to discover concepts that bind musical cultures together, as well as to identify the features that characterize particular musical practices. This course focuses on musics from Indonesia, the Philippines, Vietnam, China, Korea, and Japan. Lecture-demonstrations by performers of traditional and contemporary music from these countries will offer examples of the preservation and evolution of diverse musical styles.
Meets the following Core requirements: Critical Analysis, International Perspectives
Meets the following Gen Ed requirements: Creation and Criticism in the Arts, Multicultural Perspectives
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced, Mastered)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Through the process of interacting with guest artists and with their peers in class discussions, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
Core Goals:
Critical Analysis
- Students will critically analyze information and ideas. (Introduced, Practiced)
- Students investigate the relationship of specific musical practices to their cultural context in order to explain how musical styles reflect and embody meaning in different societies.
- Students will examine issues from multiple perspectives. (Introduced, Practiced)
- Students develop understanding of the multiple ways that different audiences perceive and engage with musical performances.
- Students will engage in an exploration of the relationship between past systems of knowledge and present scholarly and creative approaches within and across disciplines. (Introduced, Practiced)
- Students learn about the field of ethnomusicology, how it has evolved greatly over its relatively short existence as an academic discipline, and about the changing nature of its interdisciplinarity.
- Students will consider how our understanding of significant questions and ideas is informed by the critical, scholarly, and creative approaches through which we approach those questions and ideas. (Introduced, Practiced)
- Students have learned the ways in which the ethnomusicologist's relationship to her subject influences the nature of the work she produces.
- Students will develop discernment, facility and ethical responsibility in using information. (Introduced, Practiced)
- Students analyze musical performances and recordings to identify the cultural origin of different instruments, techniques, and styles. They learn the difference between recording and performance, and become familiar with ethical behavior in relationship to each.
- Students will engage as active participants in the College's intellectual community. (Introduced, Practiced)
- Students have participated by attending concerts and musical activities at Mills College and/or in the Bay Area, and have written analytical reports on the music experienced and its context.
International Perspectives
- Students will reflect on their value systems and way of understanding the world and understand that these are not universal. (Introduced, Practiced)
- Students have learned to interpret and value the music they study as a manifestation of a world view that has unique differences to their own
- Students will analyze the history, arts, politics, language, economy of a non-Western national context using scholarly or creative perspectives from the culture being studied and demonstrate the ability to contrast these with dominant US perspectives. (Introduced, Practiced)
- Students have learned about the musical languages of several Asian cultures, and about the values for which they are appreciated by musicians and audiences in their nations. They have compared and contrasted these musical and cultural differences in class discussions and in their listening journals.
- Students will demonstrate knowledge of at least one ethnic or national group and its experiences outside of the United States. (Introduced, Practiced)
- Students have written a report on a musician or musical group from one of the cultures whose music has been studied in the class.
- Students will demonstrate knowledge of intellectual and/or creative contributions from at least one culture, country, or region outside of the United States. (Introduced, Practiced)
- Students have written reports and shared them orally in class that describe their choice of a musician or musical group from one of the cultures studied within the class.
General Education Goals:
Creating & Critiquing Arts
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Students recognize important historical styles from a variety of world cultures, and can compare them by discussing specific physical, formal, and expressive aspects.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Students use standard music theory vocabulary in describing the melodic, rhythmic, and timbral character of musics from diverse world cultures.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- Students write descriptions of a musical practice they have chosen that includes discussion of its technical, social, historical, and aesthetic foundations.
Multicultural Perspectives
- Demonstrate understanding of culture and cultural identities as dynamic rather than fixed categories, and describe the diverse ways in which they are produced, transformed, and maintained (Introduced, Practiced)
- Students describe music with reference to its origins and influences from different cultures.
- Students can describe the history of cultural influences that are combined and represented in different but identifiable musical traditions.
- Describe how two or more ethnic groups have interacted in different historical contexts, and be able to discuss the dynamics of that relationship (Introduced, Practiced)
- Students identify musical styles with reference to the history of different cultures and how they have influenced and interacted with each other.
- Deploy the necessary critical tools to reflect on the artistic, literary, and intellectual traditions of marginalized groups-both nationally and internationally-and to appreciate the diversity of human thought and experience (Introduced, Practiced)
- Students associate different musics with their origins in different social classes and ethnicities, including those that have been traditionally marginalized in their own cultural context and internationally.
MUS 116: Women, Gender, and Musical Creativity (3 Credits)
Studies in the contributions of women composers and performers to music across space and time, including critical consideration of the intersections of gender and creativity. This course involves listening, reading, lectures and discussion, and draws on historical and critical perspectives to examine the creative lives of musicians ranging from 12th-century visionary, and composer Hildegard von Bingen, romantic pianist-composer Clara Wieck Schumann, and avant-garde teacher Nadia Boulanger, to the iconic Indian playback singer Lata Mangeshkar, and legendary Egyptian singer Umm Kulthum.
Note(s): Graduate Students should seek instructor approval Limit 25 students. Open to undergraduates only.
Meets the following Core requirements: Critical Analysis, International Perspectives, Race, Gender & Power, Written and Oral Communication II
Meets the following Gen Ed requirements: Historical Perspectives, Women and Gender
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
Core Goals:
Critical Analysis
- Students will critically analyze information and ideas. (Practiced)
- Students will examine historical and contemporary reception of women and women’s work in music using critical and theoretical tools developed by feminist musicologists and scholars. They will learn to evaluate the historiography of women’s work, and to recognize how tropes have been/are perpetuated in scholarly and popular writing about women in music as well as interrogate the narratives and theories which have served to confine, frame and explain away women’s creativity in music across time. Students will also examine the work of women who have/are challenging and subverting traditional gender and genre expectations and in music.
- Students will demonstrate the ability to critically evaluate the canonization and reception of musical works by scholars, music critics, and audiences.
- Students will examine issues from multiple perspectives. (Practiced)
- Students read and discuss contrasting perspectives on the roles and responsibilities of the women making music in relation to questions of mentoring and ally-ship. Students also read and discuss different responses by women to issues such as whether there is 'the female voice' discernible in their music.
- Students will engage in an exploration of the relationship between past systems of knowledge and present scholarly and creative approaches within and across disciplines. (Practiced)
- Students explore chapters in the history of women making music across geographical spaces and into the 21st century and in so doing identify connecting themes. They analyze historical source readings which reveal how biological and essentialist theories of sex served to erase and limit women's musical practices; and they explore challenges to the dominant paradigm across time by such femininst musicians Ethyl Smyth, Sojourner Truth, and Pauline Oliveros.
- Students will discuss source readings from various historical periods, considering the differences between composers' and their listeners' beliefs and thoughts, as well as tracing similarities in the history of compositional ideas and philosophies.
- Students will consider how our understanding of significant questions and ideas is informed by the critical, scholarly, and creative approaches through which we approach those questions and ideas. (Introduced)
- Students will explore how particular historical, social, and geographical contexts shape the creative visions of women in music - and how those same contexts shape the vested interests of writers and critics. Students will also consider their own positionality and how it might affect their listening of various musical practices.
- Students will develop discernment, facility and ethical responsibility in using information. (Introduced)
- Students will develop consideration of the ethical implications of talking or writing about music in relation to such dynamics as race, disability, gender, and sexuality since these are contested issues.
- Students learn why and how to reference their work in a responsible academic manner.
- Students will engage as active participants in the College's intellectual community. (Practiced)
- Students will take an active part in academic culture and community by participating in discussions, presenting their work, engaging in peer review, and taking part in an exchange of ideas.
International Perspectives
- Students will reflect on their value systems and way of understanding the world and understand that these are not universal. (Practiced)
- Students will demonstrate an understanding of how they are taught to understand the world from North American perspectives (that is, how non-western cultural systems are processed through a Western, specifically North American lens) and an ability to contrast this understanding with understandings of culture and identity in Egypt, Europe, and other parts of the world.
- Students will analyze the history, arts, politics, language, economy of a non-Western national context using scholarly or creative perspectives from the culture being studied and demonstrate the ability to contrast these with dominant US perspectives. (Practiced)
- Students will examine women's musical work from appropriate perspectives, such as Sister Rosetta Tharpe's gospel music drawing on black feminist theory, or Umm Kulthum as a pan-Arab voice of resistance through an anti-colonial lens which challenges the realities of Islamophobia in western contexts and the marginalization of Arab-Muslim voices.
- Students will demonstrate knowledge of at least one ethnic or national group and its experiences outside of the United States. (Practiced)
- Students examine case-studies of musical women from several different locations outside the US: in one focusing on Umm Kulthum, students analyze the social, political, artistic and cultural traditions and dynamics of Egypt and and of the pan-Arabian consciousness Kulthum galvanized across the Middle East.
- Students will demonstrate knowledge of intellectual and/or creative contributions from at least one culture, country, or region outside of the United States. (Practiced)
- Students analyze musical works by women from different regions and countries outside the US, including from the Indian subcontinent, and from the Arab world, from Italy, and from France. Students contextualize the works through knowledge of the cultural traditions in those regions and countries.
Race, Gender & Power
- Students will demonstrate the ability to analyze race and gender as socially constructed, dynamic identity categories related to systems of power and privilege. (Practiced)
- Students analyze the social construction of gender in music and in writing about music through an anti-imperialist feminist lens, examining the ways in which women's music-making has been controlled and restricted. Students analyze current and historical readings that have theorized the "questions" of women and creativity, gaining perspectives on the ways in which perceptions of gender have been used to exclude women from musical education and professional creativity.
- Students examine women's music-making within particular national and transnational contexts, taking account of social status, perceptions of gender difference, and who controls the production of knowledge.
- Students will analyze the ways in which race and gender intersect with other identity categories including sexuality, class, ethnicity, religion, disability, age, citizenship and nationality. (Practiced)
- Students engage new modes of musical analysis which draw on gender and its intersection with race, class, religion, nationality and disability. Students examine musical case-studies of intersectionality and explore how these dynamics identities are manifest in music and music-making as a cultural practice.
- Students will demonstrate familiarity with the ways that marginalized communities have resisted structures of power through social movements, civic engagement, artistic expression, and scholarship. (Practiced)
- Students examine case-studies focusing on Black Women and Music through the lens of black feminist postcolonial theories in several different contexts: Blues, Gospel, Concert Music and Opera, and analyze the ways in which African American women have challenged and resisted slavery, oppression and racism through powerful musical expression. Students examine a case-study focusing on Umm Kulthum in Egypt and her voice creating a powerful social movement of resistance to Western domination, violence, and imperialism in the Middle East.
- Students will be able to engage with the intellectual and theoretical contributions of marginalized communities, and contrast them with dominant perspectives. (Practiced)
- Students examine case-studies focusing on Black Women and Music through the lens of black feminist postcolonial theories in several different contexts: Blues, Gospel, Concert Music and Opera, and analyze the ways in which African American women have challenged and resisted slavery, oppression and racism through powerful musical expression which contrasts with the dominant musical forms in the USA through the 20th century.
- Students will communicate effectively across differences with an understanding of their own social location. (Practiced)
- Students will consider the implications of their own positionality in terms of social, cultural, and geographical locations and perspectives and will be encouraged to be accountable to these as they participate in group discussions and class listening (music) sessions.
Written & Oral Comm II
- Students will develop skills in writing, digital presentation, and oral communication, as complementary and equal parts of college-level communication and literacy. (Practiced)
- Students will present their responses to assigned listening and reading in a clear, articulate manner, referring to specific musical and/or textual elements from the assigned music/reading in class discussions. They will give formal presentations of their research using presentation software which will include audio and visual components. They will respond to questions from the class, and from designated respondents. They will draft a short paper, respond to feedback, draft a research proposal and an outline, act on feedback, and complete a final paper draft; act on further feedback and submit a final paper.
- Students will be able to move easily and fluently between different rhetorical expectations and formal registers. (Introduced)
- Students will engage in informal exchange to 'brainstorm' ideas during impromptu discussions; equally, they will reflect critically on the studied texts, and present their ideas in a clear and articulate fashion during more structured class discussions that they prepare for. They will write short response papers but will also prepare a polished final research paper. Students will also give a polished presentation using presentation software with audio and visual components.
- Students will develop and refine their own voice and sense of style. (Practiced)
- Students will read a wide variety of texts by musical women, and will listen to a wide variety of music by women from different times and places: these will provide models and inspiration for students to develop their own voices and styles. Practically, they will refine these through 1) regular discussions (learning from each other), along with 2) formal presentations, and 3) writing papers.
- Students will practice and refine different forms of communication that are appropriate for the multiple contexts and disciplines that they engage with. (Practiced)
- Students will be responsible, variously, for leading a class discussion, taking part in group discussions, engaging in peer review, a polished presentation which includes audio and visual elements, drafting proposals, outlines, papers, and polishing a final paper. The readings and listenings to which students are required to respond, discuss and engage with are diverse and draw on multiple disciplines, such as women's, gender, and feminist studies, cultural studies, musicology, ethnomusicology, and psychology.
- Students will understand the role of drafting, revising, presenting, and receiving, processing and using feedback as important parts of the writing process. (Practiced)
- Students will engage with writing and oral presentation as a process of transformation that emerges from initial ideas, proposal, drafting, revising, and considering (and providing peer) feedback. The final results are a polished presentation and a polished final paper.
General Education Goals:
Historical Perspectives
- Evaluate past events and trends from political, economic, artistic, cultural, philosophical, and social perspectives (Introduced, Practiced)
- Students will evaluate source readings and musical works from the twelfth century to the present day in the context of pertinent social, cultural, artistic and political dynamics through class discussions and written assignments.
- Students will discuss the social and political influences on music by women in different historical periods and include references to the cultural and artistic background of the composer or musical work studied.
- Recognize both differences and similarities between past eras and the present (Introduced, Practiced)
- Students will demonstrate the ability to distinguish between musical works from different historical periods.
- Students will understand the history of formation of the classical music canon as it is today; understand the history of the modern concert and its formation in the nineteenth century.
- Students will discuss source readings from various historical periods, considering the differences between composers' beliefs and thoughts, as well as tracing similarities in the history of compositional ideas and philosophies.
- Critique existing analyses of earlier eras (Introduced)
- Students will question the omission of composers and their music from textbooks on music on the basis of their sex or gender.
- Students will demonstrate the ability to critically evaluate the canonization and reception of musical works by scholars, music critics, and audiences.
Women and Gender
- Demonstrate an awareness of the distinctive contributions of women to culture or history or science (Introduced, Practiced, Mastered)
- Students learn to recognize, describe, and analyze the unique creative contribution of women musicians in the history of music across world traditions.
- Demonstrate awareness of the impact of race, class, national origin, and other significant differences as well as the commonalties in women's experience (Introduced, Practiced)
- Students gain understanding of how women musicians' experiences across different countries, times, and places, share certain common factors and often obstacles which need to be overcome in order to succeed in their creative endeavors. Examination of a selection of women musicians within their particular national contexts, taking account of social status and perceptions of gender difference, will enable students to grasp the differences between women musicians' experiences in different parts of the world - such as India, Egypt, Britain, France, Germany, Cuba, and the USA.
- Analyze current and past social issues pertaining to gender (Introduced)
- Students analyze current and historical readings that have theorized the "questions" of women and creativity, and women and music, gaining perspectives on the ways in which perceptions of gender have been used to exclude women from musical education and professional creativity.
- Students examine present-day case-studies of women in the highest level positions in music - such as the very few artistic directors and conductors of symphony orchestras - in order to learn how gender continues to play a role in our social, cultural, and artistic lives in the USA as well as in other parts of the world.
MUS 117: Studies in European Music and Culture to 1750 (3 Credits)
This course involves studies in European Music and Culture during three of its most innovative and rich historical periods – Medieval, Renaissance, and Baroque – from the beginnings of notated diatonic music (Assyria, 3,400 years ago) through the chants of the mystic visionary Hildegard of Bingen, to the glorious music of Johann Sebastian Bach. We look at how this exceptional period is responsible for some of the greatest innovations (from the advent of printing and publishing to the rise of polyphonic music and harmony) and masterworks by both men and women, from both “West” and "East."
Note(s): Graduate students are welcome, but should seek instructor's permission. Limit 20 students.
Meets the following Core requirements: Critical Analysis, International Perspectives, Race, Gender & Power, Written and Oral Communication II
Meets the following Gen Ed requirements: Creation and Criticism in the Arts, Historical Perspectives, Written Communication
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced, Mastered)
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Practiced, Mastered)
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Practiced, Mastered)
- Understanding that learning music as a language involves studies in vocabulary, grammar and syntax, as well as in larger forms, all of which can be understood as structures of cultural and artistic expression.
- Demonstrating an understanding of a range of compositional techniques, analytical methods, and important issues in music criticism.
- Differentiating concepts of melody and harmony between historical and contemporary musical styles.
- Being able to distinguish between different musical forms, as well as determine the age of a piece of music through critical (aural and written) analysis.
- Developing a strong grasp of the language of Western music through at least three of the following learning skills: musicianship (aural training), theory, listening, history, score-reading, analysis, practice, composition.
Core Goals:
Critical Analysis
- Students will critically analyze information and ideas. (Practiced)
- Students will examine historical and contemporary accounts of European music to 1750 using critical and theoretical tools developed by musicologists, literary and cultural critics, and feminist scholars. They will learn to evaluate the historiography of musical practices, and to recognize how tropes have been/are perpetuated in scholarly and popular writing about music as well as interrogate traditional narratives shaped through the vested interests of Western imperialism. Students will also examine the work of musicians who have/are challenging and subverting conventional performance traditions of the music under consideration.
- Students will examine issues from multiple perspectives. (Practiced)
- Students listen to contrasting performance practices of music from the Arabian peninsula and read arguments challenging the conventional Western European approach to examine whether performances which re-envision and reintegrate the Arab-Muslim influences of the music are effective and extend beyond Orientalism. Similarly, students examine different performances of music written during early Spanish Colonialism in South America to decide whether the cultural practices of the formerly colonized can, in the post-colonial context, take on a new significance.
- Students will engage in an exploration of the relationship between past systems of knowledge and present scholarly and creative approaches within and across disciplines. (Practiced)
- Students will discuss source readings from various historical periods, considering the differences between composers' and their listeners' beliefs and thoughts, as well as tracing similarities in the history of compositional ideas and philosophies. Students engage in questions of how far even contemporary musicology replicates forms of knowledge produced during its inception in the colonial era. New scholarly and performance approaches to the repertories considered are examined, as are questions of how far race, gender and religion are integral to these cultural practices.
- Students will consider how our understanding of significant questions and ideas is informed by the critical, scholarly, and creative approaches through which we approach those questions and ideas. (Practiced)
- In studying the several different interpretations of complex musical works, students will be able to explain how the questions we ask of a cultural practice like music shape its meaning and significance.
- Students will develop discernment, facility and ethical responsibility in using information. (Practiced)
- Students will develop consideration of the ethical implications of talking or writing about music in relation to such contested issues as race, gender, and religion.
- Students learn why and how to reference their work in a responsible academic manner.
- Students will engage as active participants in the College's intellectual community. (Practiced)
- Students will take an active part in academic culture and community by participating in discussions, presenting their work, engaging in peer review, and taking part in an exchange of ideas.
International Perspectives
- Students will reflect on their value systems and way of understanding the world and understand that these are not universal. (Practiced)
- Students will demonstrate an understanding of how they are taught to understand the world from North American perspectives (that is, how non-western cultural systems are processed through a Western, specifically North American lens) and an ability to contrast this understanding with understandings of culture and identity in North Africa, Andalusia, and other parts of the world.
- Students will analyze the history, arts, politics, language, economy of a non-Western national context using scholarly or creative perspectives from the culture being studied and demonstrate the ability to contrast these with dominant US perspectives. (Practiced)
- Students will examine how non-Western influences and elements have been systematically erased from the musical cultures of the medieval and renaissance periods in the academy and musical worlds of the West, particularly the US. Students study musical cultures in Central America, Andalusia, Syria and North Africa, and learn to understand their exchanges with European musics. Through a post-colonial lens, students learn to how knowledge of the history both of Western-Muslim interactions and of Western (mis)representation of Islamic cultures can challenge the realities of Islamophobia in the US context and the marginalization of Arab-Muslim voices.
- Students will demonstrate knowledge of at least one ethnic or national group and its experiences outside of the United States. (Practiced)
- Students examine case-studies from within Andalusia, studying the rich mixing of African, Middle Eastern and European musics and the dissemination of the new hybrid musical culture through Europe by way of skilled musical women. In addition, students analyze the social, political, artistic and cultural traditions and dynamics of the French, English and Italians during the periods covered in the course.
- Students will demonstrate knowledge of intellectual and/or creative contributions from at least one culture, country, or region outside of the United States. (Practiced)
- Students analyze musical works from different regions and countries outside the US, including from Andalusia, Central America, and from Italy and France. Students contextualize the works through knowledge of the cultural traditions in those regions and countries.
Race, Gender & Power
- Students will demonstrate the ability to analyze race and gender as socially constructed, dynamic identity categories related to systems of power and privilege. (Practiced)
- In this course we critically examine the rich and often overlooked cultural terrain of Andalusia, specifically focusing on revisionist readings which challenge the “myth of [white, Christian] Westernness,” and trace the formative influence of Islamic, Arabic and North African instruments and styles on the Medieval West. The course also draws on postcolonial, feminist and revisionist perspectives and theories to examine how some of the greatest innovations and masterworks were created by both men and women, from both “West” and “East.” We also examine cross-cultural influences, including a case-study on early European colonialism in central and South America, the vital role of women as performers/composers, and the we reintegrate the body (gendered female in traditional scholarship) through dance (including South American influence through colonialism) into the study of this period of music history.
- Students analyze the social construction of race and gender in music and in writing about music through an anti-imperialist lens, examining the ways in which music-making by women and people of color has been controlled, restricted, and erased from the historical record. Students analyze current and historical readings that have theorized the "questions" of creativity relating to both women and people of color, gaining perspectives on the ways in which perceptions of race and gender have been used to exclude both groups from musical education, professional creativity, and, ultimately, from the historiography of Western Art music.
- Students will analyze the ways in which race and gender intersect with other identity categories including sexuality, class, ethnicity, religion, disability, age, citizenship and nationality. (Practiced)
- Students examine music-making by women and people of color within particular national and transnational contexts, taking account of social status, perceptions of racial, religious, and gender differences, and who has controlled the production of knowledge.
- Through a post-colonial lens, students analyze how far anti-Arab sentiment and Islamophobia in the contemporary US context has deep roots in Western (mis)representation of Islamic and Arab cultures, and how such misrepresentation is bound up with notions of femininity, sexuality, and ethnicity as well as religion.
- Students will demonstrate familiarity with the ways that marginalized communities have resisted structures of power through social movements, civic engagement, artistic expression, and scholarship. (Practiced)
- Students examine case-studies focusing on Arab and North African musicians through the lens of postcolonial, revisionist theories in several different contexts and analyze the ways in which, for instance, Arabian women challenged and resisted oppression and racism through powerful musical expression as the bringers of the "trouvere" tradition to Western Europe in the Middle Ages, and how Ziryab developed the first music conservatories in Cordoba and across Andalusia beginning in the 10th century which included girls and young women, as well as boys and men of North African and Arabian backgrounds. Another case-study focuses on the powerful musical resistance to, and subversion of, Early European colonialism, domination, and violence in Central America through innovative religious music and dance.
- Students will be able to engage with the intellectual and theoretical contributions of marginalized communities, and contrast them with dominant perspectives. (Practiced)
- Through a critical examination of the rich and often overlooked cultural terrain of Andalusian music making, we focus on the intellectual and musical contributions of women and of Muslims: that is, the contributions of those communities whose very presence in the Medieval West has until recently largely been erased in the vested interests of the subsequently Catholic Spanish monarchy. The course also draws on postcolonial, feminist and revisionist perspectives and theories to examine how some of the greatest innovations and masterworks were created by both men and women, from both “West” and “East” and contrasts them with music which has long been part of the Western musical canon. We also examine the rich musical contributions of those subjected to early European colonialism in central and South America and how this approach forces us to rethink the dominant narrative of the music of the "Renaissance".
- Students will communicate effectively across differences with an understanding of their own social location. (Introduced)
- Students will consider the implications of their own positionality in terms of social, cultural, and geographical locations and perspectives and will be encouraged to be accountable to these as they participate in group discussions and class listening (music) sessions.
Written & Oral Comm II
- Students will develop skills in writing, digital presentation, and oral communication, as complementary and equal parts of college-level communication and literacy. (Practiced)
- Students will present their responses to assigned listening and reading in a clear, articulate manner, referring to specific musical and/or textual elements from the assigned music/reading in class discussions. They will give formal presentations of their research using presentation software which will include audio and visual components. They will respond to questions from the class, and from designated respondents. They will draft a short paper, respond to feedback, draft a research proposal and an outline, act on feedback, and complete a final paper draft; act on further feedback and submit a final paper.
- Students will be able to move easily and fluently between different rhetorical expectations and formal registers. (Introduced)
- Students will engage in informal exchange to 'brainstorm' ideas during impromptu discussions; equally, they will reflect critically on the studied texts, and present their ideas in a clear and articulate fashion during more structured class discussions that they prepare for. They will write short response papers but will also prepare a polished final research paper. Students will also give a polished presentation using presentation software with audio and visual components.
- Students will develop and refine their own voice and sense of style. (Introduced)
- Students will read a wide variety of texts, and will listen to a wide variety of music: these will provide models and inspiration for students to develop their own voices and styles. Practically, they will refine these through 1) regular discussions (learning from each other), along with 2) formal presentations, and 3) writing papers.
- Students will practice and refine different forms of communication that are appropriate for the multiple contexts and disciplines that they engage with. (Practiced)
- Students will communicate about the music studied orally - through class discussions and a formal presentation - and through different forms of writing - short response papers appropriate for concert reports, and a formal final paper. Drafts will be required and feedback provided.
- Students will understand thoroughly the relationship between form and content, (Practiced)
- Learning from both musical and literary texts as models, students learn how content can shape form in meaningful ways (a work can reflect what it consists of), but also how the content can obfuscate the work's form.
- Students will understand the role of drafting, revising, presenting, and receiving, processing and using feedback as important parts of the writing process. (Practiced)
- Students will engage with writing and oral presentation as a process of transformation that emerges from initial ideas, proposal, drafting, revising, and considering (and providing peer) feedback.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Practiced)
- Students will report on recorded and live performances of early music, commenting upon differences in technique and performance practice required for the various periods.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Practiced)
- Students will discuss and write about different forms, genres, and styles of music from three periods of music history.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Practiced)
- Students will utilize appropriate vocabulary in class discussions and writing.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Practiced)
- Students will respond to and analyze live and recorded performances, involving aesthetic considerations.
- Understand or use collaborative techniques for the creation of an artistic or literary work (Introduced)
- Students will perform in class, singing or playing instruments together.
Historical Perspectives
- Evaluate past events and trends from political, economic, artistic, cultural, philosophical, and social perspectives (Practiced)
- Students will be able to discuss the social and philosophical influences upon the music of each period, and include references to the cultural background of the composer or musical work studied.
- Recognize both differences and similarities between past eras and the present (Mastered)
- Students will be able to distinguish between Medieval, Renaissance, and Baroque examples.
- Critique existing analyses of earlier eras (Practiced)
- Students will be able to question assessments of early scores that were written in the nineteenth century.
- Use critical tools to assess historical source materials (Practiced)
- Students will be able to critique past writings on early music in light of more recent scholarship.
Written Communication II
- A. Demonstrate familiarity with a variety of rhetorical forms and how these forms are used in specific academic disciplines, cultural contexts, and institutions outside the academy (Introduced)
- Students will be able to supply examples of music's relationship with rhetoric, particularly in the Baroque era.
- B. Write clearly organized essays with the following characteristics: effective paragraphing, thesis development, transitions, use and interpretation of evidence, evidence of larger structure and organization (Practiced)
- Each examination will require short essay writing on given topics. The term paper will demonstrate the use of research into the topic and organization of the presentation.
- C. Write essays that incorporate examples from other writers, demonstrate critical thinking and interpretation about the ideas of other writers, and use correct documentation for these examples (Practiced)
- Students will demonstrate the correct use of a bibliography and footnotes in their term papers.
- D. Use draft and revision processes, demonstrate understanding of different stages of the writing process, and engage in editing and revision of peer essays (Practiced)
- Students will submit topics for term papers followed by preliminary bibliographies. These will be discussed with the instructor and revised as necessary.
- E. Write in a style that is both personally expressive and compatible with the specific discipline or context of the project (Practiced)
- Students will write more personally in concert reports, but are expected to write in a scholarly manner in the term paper.
- Produce essays and other forms of writing free from sentence level error and identify where to get further information about such errors (e.g., how to use a handbook) (Practiced)
- The students receive guidelines for writing term papers and concert reports and are expected to follow them.
- Be familiar with and able to use the tools and resources of an academic library in addition to Internet resources (Practiced)
- Students will submit a preliminary bibliography for their term papers, so will have time to show improvement in research skills.
- Be competent in the use of the citation style appropriate to a discipline (Practiced)
- Students will use correct style in footnotes and bibliography in their term papers.
MUS 118: Classical and Romantic Music (3 Credits)
This course takes the form of a survey of the repertory of European Art Music, 1750--1900. We study the major musical genres – including symphony, sonata, character piece, opera, tone poem – and compositional styles/forms from the Enlightenment to late Romanticism. We also explore some of the musical voices – those of women and people of color – which are usually overlooked in traditional histories of music. Includes a wide selection of repertory, readings in music history, critical analysis of selected works, and a consideration of the music’s cultural, social, political contexts.
Note(s): Designed for music majors and non-majors with a working knowledge of musical notation. Open to seniors and graduate students without musical backgrounds who wish to conduct interdisciplinary research. Limit 20 students.
Meets the following Core requirements: Critical Analysis, International Perspectives
Meets the following Gen Ed requirements: Creation and Criticism in the Arts, Historical Perspectives
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced, Mastered)
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Practiced, Mastered)
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Practiced, Mastered)
- Understanding that learning music as a language involves studies in vocabulary, grammar and syntax, as well as in larger forms, all of which can be understood as structures of cultural and artistic expression.
- Demonstrating an understanding of a range of compositional techniques, analytical methods, and important issues in music criticism.
- Differentiating concepts of melody and harmony between historical and contemporary musical styles.
- Being able to distinguish between different musical forms, as well as determine the age of a piece of music through critical (aural and written) analysis.
- Developing a strong grasp of the language of Western music through at least three of the following learning skills: musicianship (aural training), theory, listening, history, score-reading, analysis, practice, composition.
Core Goals:
Critical Analysis
- Students will critically analyze information and ideas. (Practiced)
- Critically analyze and evaluate musical works, along with the historiography of those works, using primary and secondary sources.
- Critically examine the criteria used to evaluate musical works and the historiographies of performers and musical life in different societies outside the US.
- Students will examine issues from multiple perspectives. (Practiced)
- Examine a variety of musicological perspectives, as well as examining a variety of contexts for the musical repertory under discussion - such as social, cultural, national, political, geographical - and how views on the music we engage with can be quite different from each of these perspectives.
- Students will engage in an exploration of the relationship between past systems of knowledge and present scholarly and creative approaches within and across disciplines. (Practiced)
- Discuss source readings from the classical and romantic periods, considering the differences between social, political and cultural beliefs and thoughts then and now, as well as tracing similarities in the intellectual, creative and philosophical traditions.
- Students will consider how our understanding of significant questions and ideas is informed by the critical, scholarly, and creative approaches through which we approach those questions and ideas. (Introduced)
- Students will learn about the ways in which subjective identities have shaped the historical record and thereby formed the musical canon in the Western world. Students engage with revisionist methods - using race, gender and sexuality as new modes of musical analysis - to consider new ways of understanding the history of ideas.
- Students will develop discernment, facility and ethical responsibility in using information. (Practiced)
- Students will use sources carefully, especially the internet; value peer-reviewed scholarship, and acknowledge all sources of information in an ethical manner.
- Students will engage as active participants in the College's intellectual community. (Introduced, Practiced)
- Students will take an active part in academic culture and community by participating in discussions, presenting their work, engaging in peer review, and taking part in an exchange of ideas.
International Perspectives
- Students will reflect on their value systems and way of understanding the world and understand that these are not universal. (Introduced, Practiced)
- Demonstrate understanding that divergent musical traditions cannot be judged from an ethnocentric perspective and that different musical styles and cultures require understanding on different cultural and aesthetic terms which need to be learned and understood.
- Students will analyze the history, arts, politics, language, economy of a non-Western national context using scholarly or creative perspectives from the culture being studied and demonstrate the ability to contrast these with dominant US perspectives. (Introduced)
- Students will analyze French, Italian, German, British, and selected Russian musical traditions through both creative and scholarly perspectives from within each of these regions. Students examine how the cultural practices from these traditions have been misrepresented, misunderstood, and even erased from the musical record in the US.
- Students will demonstrate knowledge of at least one ethnic or national group and its experiences outside of the United States. (Introduced, Practiced)
- Discuss and engage with the cultural and social practices and traditions of several European peoples and their experiences.
- Students will demonstrate knowledge of intellectual and/or creative contributions from at least one culture, country, or region outside of the United States. (Introduced, Practiced)
- Discuss, engage with, and write about the creative contributions from several European countries and regions. This is one of the main goals of this course.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Practiced)
- Discuss recorded and live performances of classical and romantic music, commenting upon style, form, and differences in performance practice and instrumentation required for the two different periods.
- Examine specific works as well as key historical and aesthetic issues in 18th- and 19th-century music.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Practiced)
- Demonstrate an understanding of compositional forms, styles, and techniques during the period.
- Discuss the different forms, styles and genres of music from c.1750 to c.1890, considering melody, phrasing, rhythmic gestures, and motives.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Practiced)
- Utilize appropriate vocabulary in class discussions of recorded examples and scores, as well as in examinations.
- Demonstrate knowledge of analytical methods and approaches used in musical criticism in music of the 18th and 19th centuries.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced)
- Respond to and comment on live and recorded performances, involving consideration of form, genre, style, technique, context, and aesthetics.
Historical Perspectives
- Evaluate past events and trends from political, economic, artistic, cultural, philosophical, and social perspectives (Practiced)
- Demonstrate knowledge of the history of classical and romantic music within its political, social, and intellectual contexts.
- Discuss the social and philosophical influences on the music of the 18th and 19th centuries and include references to the cultural background of the composer or musical work studied.
- Recognize both differences and similarities between past eras and the present (Practiced, Mastered)
- Demonstrate the ability to distinguish between early classical, classical, early and late Romantic musical works.
- Understand the history of formation of the classical music canon as it is today; understand the history of the modern concert and its formation in the nineteenth century.
- Discuss source readings from the classical and romantic periods, considering the differences between composers' beliefs and thoughts, as well as tracing similarities in the history of compositional ideas and philosophies.
- Critique existing analyses of earlier eras (Introduced)
- Question the omission of composers and their music from textbooks on classical and romantic music on the basis of race, ethnicity, gender or class.
- Demonstrate the ability to critically evaluate the canonization and reception of classical and romantic musical works by scholars, music critics, and audiences.
MUS 119: Performance Practice of Baroque and Classical Music (3 Credits)
A study of historical performance practices of Baroque and classical music, with emphasis on both research and performance. A survey of the musical forms and compositional and performance styles of each period through music examples and source readings. Small ensemble work with class performances and guest lectures by prominent early music specialists. The course concludes with a final concert.
MUS 120: American Music (3 Credits)
Selected topics in the musical and cultural history of American music, with emphasis on the multicultural sources of American folk, popular, and art music traditions. This course concentrates on listening to, reading about, and writing on American music from literary, historical, cultural, and musical perspectives. Music majors are required to write an extensive musical analysis, while non-music majors can focus instead on the literary, historical, and sociological aspects of the music under discussion.
Note(s): Open to undergraduates only.
Meets the following Gen Ed requirements: Creation and Criticism in the Arts, Multicultural Perspectives, Written Communication
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced, Mastered)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Students are able to describe and compare critically the character of different styles from past and present American musical culture.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Students will analyze a specific musical work, addressing such important artistic concepts as medium, form, device or gesture.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Students will use the correct basic terminology for describing music in their descriptions of musical pieces, performances, and styles.
Multicultural Perspectives
- Demonstrate understanding of culture and cultural identities as dynamic rather than fixed categories, and describe the diverse ways in which they are produced, transformed, and maintained (Introduced, Practiced)
- Students' oral participation and written work emphasizes the dynamic aspects of the history of diverse musical styles.
- Describe how two or more ethnic groups have interacted in different historical contexts, and be able to discuss the dynamics of that relationship (Introduced, Practiced)
- Students can describe American musical styles in terms of how they combine influences from two or more ethnic groups, and can provide an informed historical interpretation of how this reflects their changing social relationships.
- Deploy the necessary critical tools to reflect on the artistic, literary, and intellectual traditions of marginalized groups-both nationally and internationally-and to appreciate the diversity of human thought and experience (Introduced, Practiced)
- Students' oral participation and written work use critical techniques to emphasize the diversity of cultural origin and social purpose of music-making, demonstrated in class discussions and assigned essays.
Written Communication II
- B. Write clearly organized essays with the following characteristics: effective paragraphing, thesis development, transitions, use and interpretation of evidence, evidence of larger structure and organization (Practiced, Mastered)
- Student's essays and research paper demonstrate standard and effective written organizational methods.
- D. Use draft and revision processes, demonstrate understanding of different stages of the writing process, and engage in editing and revision of peer essays (Practiced, Mastered)
- Students' final paper assignment will require participation in draft and peer revision process.
- Be familiar with and able to use the tools and resources of an academic library in addition to Internet resources (Practiced, Mastered)
- Student will base her research paper at least in part on library resources.
- Be competent in the use of the citation style appropriate to a discipline (Practiced, Mastered)
- Student demonstrates appropriate citation style in her music research paper.
MUS 121: Film Music: Mood and Meaning (3-4 Credits)
An overview of the use of music in international cinema, from silent film to the current emphasis on the use of popular songs, and through them the manipulation of shared memory. The course examines the development of sound "conventions" through which we recognize what is about to happen and how we're expected to feel; the constant reassertion and subversion of these conventions and codes; the development of film music style; and the recent supremacy of "sound design."
Note(s): Sophomores and Graduate students by consent of instructor only. Limit 20 students. Open to undergraduates only. Open to juniors and seniors only.
Meets the following Core requirements: Critical Analysis, Create, Innovate & Experiment
Meets the following Gen Ed requirements: Creation and Criticism in the Arts
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced)
- Developing research, writing, and presentation skills which enable her to connect the act of listening to film music with the historical, political, intellectual and cultural contexts which have engendered such music, and which such music has had a role in shaping.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, or cultural contexts within which a variety of film music practices were conceived and realized, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Through the process of viewing and reviewing films and interacting with their peers in class discussion, developing an awareness of a diversity of personal and cultural approaches and practices in the world of film music.
- Understanding and being able to distinguish between diverse film music styles and practices through listening, comparison, and analysis.
Core Goals:
Critical Analysis
- Students will critically analyze information and ideas. (Introduced, Practiced)
- Through repeated viewings and readings, class discussions, class presentations and written assignments, students will demonstrate the ability to critically analyze information and ideas.
- Students will examine issues from multiple perspectives. (Introduced, Practiced)
- Through discussions, written assignments and class visits examining the many different roles of those involved in film scoring—composer, lyricist, producer, sound designer, film editor, Foley artist, copyright lawyer, song placement company etc.— students will demonstrate an awareness and understanding of the many perspectives involved.
- Students will engage in an exploration of the relationship between past systems of knowledge and present scholarly and creative approaches within and across disciplines. (Introduced, Practiced)
- Through an examination of the history and early evolution of film music and the codes that emerged from it, students will be able to compare present day film making with past eras both in the USA and elsewhere, and understand how approaches, methods, and technologies have changed.
- Students will consider how our understanding of significant questions and ideas is informed by the critical, scholarly, and creative approaches through which we approach those questions and ideas. (Introduced)
- Through readings on film taken from both scholarly and non-academic sources, viewings of the films being written about, and interviews with film composers, students develop an understanding of how the principle questions and ideas involved in making film music may be framed.
Create, Innovate & Experiment
- Students will extend their creative strengths and skills. (Introduced, Practiced)
- Through collaborating on scoring and then recording a film soundtrack in a professional studio, musical and critical skills will be enhanced and developed.
- Students will design or produce work that demonstrates independent thinking, originality, and inventiveness. (Introduced, Practiced)
- Through collaborating on conceiving, scoring and realizing a film soundtrack, students learn to think independently, not to be afraid of their own ideas, and to find inventive ways to complete the task at hand.
- Students will produce innovative solutions to real-world problems. (Introduced, Practiced)
- In the frame of a professional assignment with deadlines, a tight budget, and copyright and other issues, students will gain an understanding of real world problems from both artistic and commercial points of view, and find innovative solutions.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Engages with musical and sound issues arising from assigned film viewings, and applies what she has learned to the collaborative creation and recording of a film clip.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced)
- Through assigned readings and film viewings, learns the principle aesthetic concepts and issues involved in creating film music, and applies them in her final project of creating a short film clip in a recording studio.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Through assigned readings, written papers, and class discussion, learns the basic critical vocabulary of film music and sound design.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- Through assigned film viewings, written papers, and class presentations, shows a clear understanding of the meanings of genre, form and style, context, aesthetics, and influence.
- Understand or use collaborative techniques for the creation of an artistic or literary work (Introduced, Practiced)
- Through collaboration on the conception, creation and realization of a short film score, understands the various issues involved in such a realization.
MUS 124: Contemporary Instrumentation and Orchestration (3 Credits)
Historical, analytical, and practical study of instrumentation and orchestration, with emphasis on gaining advanced facility in writing for the orchestral instruments. The course surveys fundamental and advanced techniques for writing for each instrument. The course also covers the basics of score reading, notation, and copying. Focus will be on instrumentation and orchestration from the standpoints of 20th-century and world musics. Students are required to turn in several small and one large orchestrational assignment, as well as analytical projects.
Prerequisite(s): MUS 003 and MUS 005
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced)
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Practiced)
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Practiced)
- Understanding that learning music as a language involves studies in vocabulary, grammar and syntax, as well as in larger forms, all of which can be understood as structures of cultural and artistic expression.
- Demonstrating an understanding of a range of compositional techniques, analytical methods, and important issues in music criticism.
- Differentiating concepts of melody and harmony between historical and contemporary musical styles.
- Being able to distinguish between different musical forms, as well as determine the age of a piece of music through critical (aural and written) analysis.
- Developing a strong grasp of the language of Western music through at least three of the following learning skills: musicianship (aural training), theory, listening, history, score-reading, analysis, practice, composition.
MUS 126: Music Improvisation Ensemble I (1 Credits)
MIE is an instrumental/vocal ensemble devoted to intensive work on non-idiomatic (and pan-idiomatic) improvisation. Some basic instrumental or vocal experience is required. The focus of the course is on careful listening, sensitivity to the moment, creating an atmosphere of mutual respect, and developing a vocabulary which allows players to compose spontaneously with others.
Note(s): Acceptance into the course is determined by an informal audition that takes place during the first session of the semester. The purpose of the audition is to assess your level of technical ability and experience of playing with others. Graduates admitted with the consent of the instructor(s). Limit 15 students. Open to undergraduates only.
Instructor Consent Required: Y
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Introduced, Practiced)
- Learning the skills appropriate for, or specific to, a range of different musical styles.
- Developing improvisational skills, including the ability to listen, to respond effectively, to make good choices, and to be sensitive to the musical, social, and acoustical environment.
- Demonstrating the ability to conceptualize, plan, problem-solve, perfect, and realize performances, from both technical and aesthetic points of view.
- Learning how to interact with computer-based musical processes, or to produce real-time computer music that incorporates improvisation.
MUS 127: Contemporary Performance Ensemble (1 Credits)
This ensemble is dedicated to the study and performance of contemporary music from a wide range of perspectives, including both established "classics" and selected new works written by student composers especially for the group. All instruments and voices are welcome. Auditions for new members of the ensemble are held during the first session of each semester.
Note(s): Open to undergraduates only.
Instructor Consent Required: Y
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced)
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Introduced, Practiced)
- Learning how to interact with computer-based musical processes, or to produce real-time computer music that incorporates improvisation.
- Developing improvisational skills, including the ability to listen, to respond effectively, to make good choices, and to be sensitive to the musical, social, and acoustical environment.
- Learning the skills appropriate for, or specific to, a range of different musical styles.
- Demonstrating the ability to conceptualize, plan, problem-solve, perfect, and realize performances, from both technical and aesthetic points of view.
MUS 128: Gamelan Ensemble (1-2 Credits)
The performance practice and theory of Javanese gamelan music are studied through playing and composing in this traditional Indonesian percussion ensemble, using the famed American gamelan built by composer Lou Harrison with William Colvig. All levels of musical expertise are welcome.
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
MUS 129: Haitian Drumming (1 Credits)
Renowned master of Haitian drumming Daniel Brevil has worked to foster an understanding of Haiti, its traditions, and its distinct cultural expressions. Students will study basic patterns of the traditional rhythms and songs from Port Au Prince (Haiti) and small creole dialog. This course will also provide students with an introduction to the culture and history of Haiti.
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
MUS 130: Vocal Jazz Improvisation Ensemble (1 Credits)
The ability to sing in tune is required; an adventurous spirit is suggested. This class explores the boundaries of vocal ensemble through an array of improvisational exercises and jazz tunes. Voice technique; ensemble blend and balance; and jazz rhythms, song forms, and scat singing are also integral to this work which often yields greater personal and creative freedom. Culminates in an evening class performance.
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
MUS 131: Performance Collective (1 Credits)
Performance Collective is devoted to the practice and performance of vocal and instrumental chamber music from the Baroque era to the 21st century. Through participation in weekly master classes students enhance chamber music skills, develop interpretations of a variety of musical styles and periods, and prepare and perform concerts held in Mills Hall and Littlefield Concert Hall. Students form a true collective by performing practical tasks of a concert as well as their chosen repertoire. Prerequisite: At least one year of private instruction. Entrance determined by informal audition.
Note(s): Entry to the course is determined by informal audition.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Practiced, Mastered)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Practiced, Mastered)
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Practiced)
- Demonstrating an understanding of a range of compositional techniques, analytical methods, and important issues in music criticism.
- Being able to distinguish between different musical forms, as well as determine the age of a piece of music through critical (aural and written) analysis.
- Developing a strong grasp of the language of Western music through at least three of the following learning skills: musicianship (aural training), theory, listening, history, score-reading, analysis, practice, composition.
- Differentiating concepts of melody and harmony between historical and contemporary musical styles.
- Understanding that learning music as a language involves studies in vocabulary, grammar and syntax, as well as in larger forms, all of which can be understood as structures of cultural and artistic expression.
MUS 132: Early Music Vocal Ensemble-Beginning (1 Credits)
The purpose of this vocal ensemble is to study and perform early music. Emphasis is on the musical styles and forms of the Middle Ages, Renaissance and Baroque periods. Students will develop their ability to perform in small ensembles and improve such aspects of singing as intonation, articulation, phrasing, balance, and interpretation. This course is geared toward students and faculty who have not had much vocal or choral experience and have beginning sight-reading skills.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
MUS 133: Early Music Vocal Ensemble (1 Credits)
The purpose of this vocal ensemble is to study and perform early music. Emphasis is on the musical styles and forms of the Middle Ages, Renaissance, and Baroque periods. Students will develop their ability to perform in small ensembles and improve such aspects of singing as intonation, articulation, phrasing, balance, and interpretation. This course is designed for students and faculty with choral experience and sightreading skills.
Note(s): Open to undergraduates only.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced, Mastered)
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
MUS 134: Early Music Instrumental Ensemble (1 Credits)
The Mills Early Music Instrumental Ensemble explores the fascinating and gorgeous repertoires of the Medieval, Renaissance, and the Baroque periods. All instruments are welcome, modern or early. No prior experience in early music is required, just a sense of musical adventure! This class will include some basic improvisation exercises as well as ensemble techniques, stylistic differences in the various eras and countries, ornamentation and divisions, musicianship, and more, all which will apply directly to the music we’ll work on for a short performance. Students must be able to read music.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
MUS 135: Early Music Ensemble-Baroque (1 Credits)
This class explores the music of the 17th and 18th centuries for mixed ensembles of instruments and voices. All instrumentalists and singers are welcome. The department has harpsichords for keyboard players who wish to gain experience playing figured bass. The course will culminate in a lunchtime concert. Participation in the Baroque Ensemble will develop skills in rhythm, sight-reading, intonation, ensemble playing, and ornamentation.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced, Mastered)
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
MUS 136: Music Instrument Building (1-2 Credits)
The primary objective of this course is for each student to construct a musical instrument of her own design within the duration of a single semester. Guidance is furnished for all phases of the project—conception, design, planning, and construction. Emphasis is placed on maintaining a consistent connection between concept, process, and result, with a working prototype being the primary goal rather than a polished final product. Research on acoustics, electronics, and traditional instrument construction may be required between classes. No prior hand-tool or machine-tool experience necessary.
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
MUS 137: Seminar in Music Literature and Criticism (4 Credits)
This seminar is devoted to the intensive examination of a major topic in musical literature (recent topics include Migration and Music; Music and Conflict; Béla Bartók and Igor Stravinsky), with exploration of appropriate research methods and bibliographical resources. Students may choose a focus for their research depending on their individual emphasis, whether historical studies, analysis, compositional style, or performance practice. Emphasis on developing advanced skills in oral and written communication through in-depth interdisciplinary studies.
Prerequisite(s): MUS 056 and MUS 118
Note(s): Seniors and graduate students from other majors who have some musical background are welcome. The senior project may be completed in conjunction with this seminar for music students with an emphasis in history/theory. Graduate theses may be developed out of this seminar's research paper and presentation. Limit 15 students. Open to seniors only.
Meets the following Core requirements: Critical Analysis, Written and Oral Communication II
Meets the following Gen Ed requirements: Creation and Criticism in the Arts, Historical Perspectives, Written Communication
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced, Mastered)
- Developing research, writing, and presentation skills which enable her to connect the act of playing and listening to music with the historical, political, intellectual and cultural contexts which have engendered music, and which music has had a role in shaping.
- Developing the ability to use primary and secondary source materials to analyze and critique diverse musical works/practices as well as the historiographies of those musical works/practices.
- Practicing and rehearsing music from different cultural traditions in order to further our understanding of them.
- Developing an awareness of the kinds of cultural, social, political, and intellectual issues that may arise from the practice of the above traditions.
- Recognizing the historical, political, religious or cultural contexts within which a wide variety of musical genres were conceived and performed, and understanding how different traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Practiced, Mastered)
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Practiced, Mastered)
- Learning how to interact with computer-based musical processes, or to produce real-time computer music that incorporates improvisation.
- Learning the skills appropriate for, or specific to, a range of different musical styles.
- Developing improvisational skills, including the ability to listen, to respond effectively, to make good choices, and to be sensitive to the musical, social, and acoustical environment.
- Demonstrating the ability to conceptualize, plan, problem-solve, perfect, and realize performances, from both technical and aesthetic points of view.
Core Goals:
Critical Analysis
- Students will critically analyze information and ideas. (Mastered)
- Students will critically analyze information and ideas relating to the particular topic of the seminar (such as nationalism or migration) and use this theoretical framework to examine and analyse musical repertories and musical texts.
- Students will examine issues from multiple perspectives. (Mastered)
- Students will examine historical and contemporary reception of particular repertories using critical and theoretical tools developed by a new generation of musicologists and scholars, including ethnomusicologists, cultural theorists, musicologists, postcolonial theorists, transnational and feminist theorists.
- Students will engage in an exploration of the relationship between past systems of knowledge and present scholarly and creative approaches within and across disciplines. (Mastered)
- They will learn to evaluate the historiography of musical works, and to recognize how tropes have been/are perpetuated in scholarly and popular writing as well as interrogate the narratives and theories which have served to confine, frame and explain away particular groups' creativity in music across time.
- Students will consider how our understanding of significant questions and ideas is informed by the critical, scholarly, and creative approaches through which we approach those questions and ideas. (Mastered)
- Students will explore how positionality and experiences of particular socio-cultural and historical contexts shape the creative visions and political imperatives of composers and musicians. Students will also consider how their positionality may shape their listening of the musics we attend to.
- Students will develop discernment, facility and ethical responsibility in using information. (Practiced, Mastered)
- Learn to differentiate between different types of historical source materials, and to use certain sources carefully, especially some of those found on the Internet. Students learn that their work can participate in a wider, global discourse, and in order to do so, they need to document their sources and understand the importance of responsible scholarship. Students are also required to understand the differences between primary and secondary texts and the power of interpretation according to authorship.
- Students will engage as active participants in the College's intellectual community. (Practiced, Mastered)
- Students are required to engage in regular critical intellectual and musical discussions, to present their final projects, and engage in peer review.
Written & Oral Comm II
- Students will develop skills in writing, digital presentation, and oral communication, as complementary and equal parts of college-level communication and literacy. (Practiced, Mastered)
- In this senior and graduate seminar, students write papers weekly and draft and revise a final paper. Each week, students are expected to engage in discussion in the seminar, and each student will lead a seminar session through digital and oral presentations. Students also give a formal presentation of their final project. The emphasis in the course is on practice and mastery of written and oral communication.
- Students will be able to move easily and fluently between different rhetorical expectations and formal registers. (Introduced)
- Students learn that each culture, and each social and academic context, has its own set of rhetorical expectations, or conditions, for how to convey ideas effectively. Students are required to generate papers and presentations in which they are consciously aware of their voice and approach and how they are able to, for instance, participate in international discourse on subjects by avoiding US-centric language, syntax, and forms of expression.
- Students will develop and refine their own voice and sense of style. (Practiced, Mastered)
- Students are encouraged to experiment in their weekly critical response papers with different approaches to writing, including those in which their own positionalities explicitly shape and inform the paper. Students are encouraged to balance this approach by an awareness of critical elements of style and approach from within Ethnomusicology and musicology which they can incorporate. Through weekly papers, regular peer review, weekly discussions, and the process of revision and preparation for the final presentations and papers, students can develop and refine their own approach to both written and oral communication.
- Students will practice and refine different forms of communication that are appropriate for the multiple contexts and disciplines that they engage with. (Practiced)
- Students practice and master different forms of discussion and presentation through weekly seminar sessions, formal presentations, and peer review. Students practice and master different forms of writing through weekly response papers and a formal final paper. Through discussion and presentation of their projects in different contexts students demonstrate changes in tone and style.
- Students will understand thoroughly the relationship between form and content, (Practiced)
- Students will present and write about their projects for different audiences (their peers, their professor and others in the music department, along with guests) and therefore demonstrate understanding of how different written and oral contexts require changes in tone and style. Students are encouraged to consider how to incorporate musical analysis into the different written and oral presentations they prepare, thereby fully understanding the relationship between form and content by reframing and rewriting the same project for different contexts.
- Students will understand the role of drafting, revising, presenting, and receiving, processing and using feedback as important parts of the writing process. (Practiced, Mastered)
- This is a writing-intensive senior and graduate seminar which involves iterative assignments relating to the final paper. These assignments begin with a research topic proposal, working bibliography, thesis outline, and also include final project-based learning through weekly response papers. Students submit drafts at various stages of the writing and research and these will demonstrate the ability to include convincing musical analysis within the body of the paper as evidence of the thesis. Students will demonstrate mastery of the drafting and revision process, and they pair up to engage in substantive peer review throughout the writing and research process. A component of the students' grades is based on their ability to incorporate feedback and improve later versions of writing projects following feedback from peers, professors, and writing professionals.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Practiced, Mastered)
- Actively engage with a variety of musical works, from film scores to classical compositions, considering the relation between composition and reception.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Practiced, Mastered)
- Use appropriate vocabulary to discuss and critically analyze musical works in weekly seminar discussions.
- Demonstrate knowledge of the language of music criticism in seminar discussions and research papers.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Practiced, Mastered)
- Research, present, and write a seminar paper that focuses on a musical work, or a musical tradition, and that considers issues of reception, context and influence.
Historical Perspectives
- Evaluate past events and trends from political, economic, artistic, cultural, philosophical, and social perspectives (Practiced, Mastered)
- Learn to trace patterns of thinking in a wide range of historical writings.
- Understand how musical works are shaped by, and also take part in shaping various historical, social, political and cultural contexts.
- Critique existing analyses of earlier eras (Practiced)
- Demonstrate familiarity with recent approaches to music historiography which open up the history of music to previously silenced voices (e.g. women, people of color).
- Use critical tools to assess historical source materials (Practiced)
- Learn to differentiate between different types of historical source materials, and to use certain sources carefully, especially the Internet.
- Understand the differences between primary and secondary texts and the power of interpretation according to authorship.
Written Communication II
- A. Demonstrate familiarity with a variety of rhetorical forms and how these forms are used in specific academic disciplines, cultural contexts, and institutions outside the academy (Practiced)
- Students will complete a variety of written and oral assignments, including writing weekly critical response papers in which they reflect deeply on their own chosen topic for research (as effective preparation for their final projects), write peer reviews of their peers papers, presentations and projects, and write a research paper which they present for their peers. They will write about and present their projects for different audiences - including the possibility of blogging and featuring their work on the internet - and therefore demonstrate changes in tone and style.
- B. Write clearly organized essays with the following characteristics: effective paragraphing, thesis development, transitions, use and interpretation of evidence, evidence of larger structure and organization (Practiced)
- This is a writing-intensive senior and graduate seminar in which these skills are practiced and mastered through iterative assignments which begin with a research topic proposal, working bibliography, thesis outline, including paragraph topics and development of thesis. Students will submit drafts at various stages of the writing and research and these will demonstrate the ability to include convincing musical analysis within the body of the paper as evidence of the thesis. Students will demonstrate mastery of the writing and research process.
- C. Write essays that incorporate examples from other writers, demonstrate critical thinking and interpretation about the ideas of other writers, and use correct documentation for these examples (Practiced, Mastered)
- This seminar involves critical reading and listening as an integral element of the assignments. Each week, students will write short papers which are required to incorporate examples from other writes, demonstrate a critical approach to all assigned reading, demonstrate sophisticated interpretation of the work of others, and to cite everything correctly. All of these criteria are also used for the larger final paper process.
- D. Use draft and revision processes, demonstrate understanding of different stages of the writing process, and engage in editing and revision of peer essays (Practiced, Mastered)
- This is a writing-intensive senior and graduate seminar which involves iterative assignments relating to the final paper. These assignments begin with a research topic proposal, working bibliography, thesis outline, and also include final project-based learning through weekly response papers. Students submit drafts at various stages of the writing and research and these will demonstrate the ability to include convincing musical analysis within the body of the paper as evidence of the thesis. Students will demonstrate mastery of the drafting and revision process, and they pair up to engage in substantive peer review throughout the writing and research process.
- E. Write in a style that is both personally expressive and compatible with the specific discipline or context of the project (Practiced, Mastered)
- Students are encouraged to experiment in their weekly critical response papers with different approaches to writing, including those in which their own positionalities explicitly shape and inform the paper. This approach is to be balanced by an incorporation of critical elements of style and approach from within Ethnomusicology and musicology.
- Produce essays and other forms of writing free from sentence level error and identify where to get further information about such errors (e.g., how to use a handbook) (Practiced, Mastered)
- This writing-intensive course is for seniors and graduate students who are developing their theses in the seminar. All papers are required to be free from grammatical errors and students will be directed to get help if needed (although this is rarely required at this level)
- Be familiar with and able to use the tools and resources of an academic library in addition to Internet resources (Practiced, Mastered)
- A Library information session is built in to the seminar schedule so that students become familiar with the wealth of digital information and resources available to them through our databases. Their bibliographies must incorporate materials which demonstrate use of these tools and resources.
- Be competent in the use of the citation style appropriate to a discipline (Practiced, Mastered)
- Students are required to practice and master correct citation styles for both footnotes and bibliography used in musicology in the USA (Chicago) and in Ethnomusicology in the USA (MLA).
MUS 140: The Technique and Mystery of Singing (2 Credits)
The Technique and Mystery of Singing introduces and reinforces the foundational techniques of singing, tone production, musicianship, and interpretation. This class is designed to explore and develop the singing voice in each student while covering the basic elements of vocal technique, including analysis of individual problems and corrective solutions.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Practicing and rehearsing music across a range of musical genres and styles in order to develop an open-minded approach as both performer and creator.
- Through the process of interacting with their peers in improvised performance and class discussion, developing an awareness of a diversity of personal and cultural approaches and practices.
- Understanding and being able to distinguish between diverse musical styles and practices through listening, comparison, and analysis.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Learning to compare and contrast melodic, harmonic, and rhythmic aspects of compositions from a range of periods and styles.
- Achieving a good understanding of different formal ideas, notational techniques, and compositional approaches, through practice, rehearsal, and discussion.
- Developing performance awareness through a focus on intonation, articulation, phrasing, balance and interpretation.
- Developing skills in notation through keyboard exercises, sight-singing, chord recognition, and composition assignments.
MUS 141: The Music of India: Brahma to Bhangra (3 Credits)
An introduction to the classical music of South Asia from Vedic times to the present, along with selected dance traditions, regional/popular music genres, film music, and Indian music in the West. Critical issues include gender, religion, identity, colonialism, nationalism, and diaspora. Students learn basic vocal and rhythmic techniques of Hindustani music, develop insights into the historical, cultural, aesthetic, and performance facets of Indian music through listening and reading assignments; audio/video material; correspondences with South Asian art history; and guest presentations.
Note(s): No previous study or knowledge of music required. Graduate students require permission of the instructor prior to enrolling. Limit 25 students. Open to undergraduates only. Open to juniors and seniors only.
Meets the following Core requirements: Create, Innovate & Experiment, International Perspectives, Race, Gender & Power
Meets the following Gen Ed requirements: Creation and Criticism in the Arts, Historical Perspectives, Multicultural Perspectives
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced, Mastered)
- Students will recognize the historical, political, religious and cultural contexts within which a wide variety of classical, regional, and popular musical genres were conceived and performed in India, and how ancient traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Students will demonstrate familiarity with and openness to a wide variety of vocal and instrumental musical traditions from across the Indian subcontinent, in both religious and secular contexts.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Students will learn basic vocal and rhythmic techniques of Hindustani music, and will practice counting out rhythmic cycles and singing the pitch syllables of particular modes, in class sessions and guest lectures-demonstrations.
- Students will learn to identify particular rhythmic cycles in recorded and live music examples, and to identify particular modes.
Core Goals:
Create, Innovate & Experiment
- Students will extend their creative strengths and skills. (Introduced)
- Students will engage with a wide variety of musical genres and styles of the Indian subcontinent through active listening to both recorded and live music, and will receive guidance on how to understand Indian musical forms involving both composition and improvisation, thereby learning how a musical performance is created.
- Students learn to understand the complex raga concept - at first through basic singing in the Hindustani tradition. To grasp this concept is to develop and extend one's creative mind and skills.
- Each student will choose a raga about which they learn through several short assignments relating to the raga’s pitch, origins, natural world associations, repertoire, gharana (lineage) and genre associations, and to the various singers and instrumentalists whose performances of the raga are renowned. At the end of the semester, they present their chosen raga to the class using audio-visual materials - and can provide their own unique insights into how they might approach the raga in performance. This project enables students to ‘own’ a raga within the immensely complex traditions of Indian music and to thereby ‘get inside’ the tradition.
- Students will design or produce work that demonstrates independent thinking, originality, and inventiveness. (Practiced)
- Students will be expected to discuss live and recorded music examples with regard to genre, musical form, and vocal and instrumental style, and particular gharana (family lineage) within the context of a musical tradition that is partly composed and partly improvised.
- Students will produce innovative solutions to real-world problems. (Practiced)
- Students will be expected to find evidence - musical, written, painted, danced, sung, etc - to support the idea of a revisionist perspective of Indian music which claims a dual Hindu-Muslim heritage, and seeks to break down barriers between folk and classical.
International Perspectives
- Students will reflect on their value systems and way of understanding the world and understand that these are not universal. (Mastered)
- Students will learn how to analyze South Asian musical cultures and cultural identities as dynamic rather than fixed categories. Students discuss and write about the multiple identities within South Asia and how far religion, society or spirituality are fundamental to music making whereas in the West such dynamics are often absent from musical discourse. ,
- Students learn that notation is not universal across global musical traditions and that, in fact, the insistence within India on notation by the British and the West more generally, was rooted in an imperialist ideology that privileged notated music above oral traditions like that of Indian music. Students learn how the oral tradition has functioned and how to learn, contextualize and understand Indian music's particular style and texture as a result.
- Students will analyze the history, arts, politics, language, economy of a non-Western national context using scholarly or creative perspectives from the culture being studied and demonstrate the ability to contrast these with dominant US perspectives. (Mastered)
- Students analyze the musical and artistic practices of South Asia using both scholarly and musical perspectives from within South Asia and the diaspora. Students learn how to contrast these with US perspectives by developing a sophisticated tool kit for understanding the musics of South Asia that extends beyond the Orientalist perspective on Indian music. Thus, students understand that to applaud Ravi Shankar in Monterey after the first 20 minutes was to be ignorant of how a instrumental performance progresses, as well as the fact that in Indian music, string instruments have many sympathetic strings which require fine tuning and that this tuning takes a great deal of time.
- Students will demonstrate knowledge of at least one ethnic or national group and its experiences outside of the United States. (Mastered)
- Students write about and discuss the experiences of South Asians (Hindus and Muslims) in South Asia (India and Pakistan) and in the British Indian diaspora, focusing on music as a cultural practice reflecting peoples' changing experiences through time.
- Students will demonstrate knowledge of intellectual and/or creative contributions from at least one culture, country, or region outside of the United States. (Mastered)
- Students discuss and write about the diversity of Indian/South Asian musical cultures, demonstrating an understanding and knowledge of the diverse artistic, cultural, and musical contributions of South Asians historically and today, both in South Asia (including Pakistan, India, Bangladesh, Bengal, and Jammu & Kashmir) and in the diaspora.
Race, Gender & Power
- Students will demonstrate the ability to analyze race and gender as socially constructed, dynamic identity categories related to systems of power and privilege. (Practiced)
- Students discuss and write about musicians whose identities have fluctuated (e.g. from Hindu to Muslim to Hindu and back to Muslim again) in order to be able to practice and perform particular classical traditions in South Asia through periods of conquest, Hindu nationalism, and British colonialism. Students analyze current and historical readings that have theorized the "questions" of creativity relating to Muslims, gaining perspectives on the ways in which perceptions of religion and race (Muslims considered outsiders) have been used to exclude them from musical education, professional creativity, and, ultimately, from the historiography of South Asian Classical music.
- Students will learn how musical forms and styles have often been inextricably linked to the social, gendered and racial identities of the people who developed them, and yet students learn that they are practiced and performed by those who do not embody those identities - that is women, lower castes, Muslims - thereby learning how to analyze the constructed nature of race, gender - and caste - and how these have fluctuated according to the ruling powers and dynamics of privilege accorded to certain sectors of the population.
- Students examine the intersection of associations relating to caste, race, sexuality and gender with a particular instrument - the sarangi, and how this affects the way listeners hear the instrument and the contexts in which it has been/is played.
- Students will analyze the ways in which race and gender intersect with other identity categories including sexuality, class, ethnicity, religion, disability, age, citizenship and nationality. (Practiced)
- Students analyze how certain musical practices and forms have been associated with the upper classes, how some have been gendered "feminine" by the British, and analyze the complex musical world of the female "courtesans," the context of whom involves a rich intersection of class, gender, religion, ethnicity, and sexuality.
- Students examine music-making by South Asians (including women and Muslims) in both national and transnational contexts, taking account of social status, perceptions of racial, religious, caste and gender differences, and of who has controlled the production of knowledge.
- Students will demonstrate familiarity with the ways that marginalized communities have resisted structures of power through social movements, civic engagement, artistic expression, and scholarship. (Practiced)
- Students examine case-studies focusing on the changing narratives which have framed the devadasis, and how this marginalized community of lower-caste women (married to South Indian temples) took control of their own narrative, and fought through their dance and musical expression for self respect, thereby changing negative perceptions of themselves and their sexuality through their own artistic and social movement. Students will learn that the Indian and South Asian Diaspora in the UK, Europe, and the USA drew on music from the homeland to express and affirm their identities, and engage people of colour more generally, in a climate of systemic racism and oppression through the 1970s, 80s, and beyond.
- Students will be able to engage with the intellectual and theoretical contributions of marginalized communities, and contrast them with dominant perspectives. (Practiced)
- Through post-colonial and subaltern readings, students encounter and engage with the intellectual and musical contributions of women, Muslims, and the scheduled (lower) castes in South Asian societies and are able to contrast these with the dominant narratives by upper-caste Hindus and Orientalists or Imperialists who have long shaped the discourse.
- Students will communicate effectively across differences with an understanding of their own social location. (Practiced)
- Students will consider the implications of their own positionality in terms of cultural, social and geographical locations and perspectives and will be encouraged to be accountable to these as they participate in group discussions, analysis of readings, and class listening (music) sessions.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Students will engage with a wide variety of musical genres and styles of the Indian subcontinent through active listening to both recorded and live music, and will receive guidance on how to understand Indian musical forms involving both composition and improvisation, thereby learning how a musical performance is created.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Students will gain knowledge of the major concepts of North and South Indian classical music, along with other traditions within the subcontinent. They will learn how to identify aurally and visually different musical instruments, and will be able to identify (from recorded and live examples) musical forms, vocal and instrumental genres, certain ornaments and other melodic gestures, modes, and rhythmic cycles,
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Students will demonstrate familiarity with all the basic vocabulary of Indian music using Hindi terminology, and will gain knowledge of how to understand, interprest, communicate about, and critique the musical genres that we cover.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- Students will be expected to discuss live and recorded music examples with regard to genre, musical form, and vocal and instrumental style, and particular gharana (family lineage) within the context of a musical tradition that is partly composed and partly improvised.
Historical Perspectives
- Evaluate past events and trends from political, economic, artistic, cultural, philosophical, and social perspectives (Practiced)
- Students will develop insights into the historical, cultural, aesthetic, theoretical and performance facets of Indian Music from Vedic times to the present through guided listening and reading, audio/video material, a concert experience, and guest lecture-demonstrations by visiting musicians.
- Students will gain an introduction to the history of the music of India, and of music's changing role in dynasties, colonialism, nationalism, and independence, from ancient times to the present.
- Students will be able to listen to music examples from Vedic times, the Mughal Period, or the 19th and 20th centuries and be able to place them in a particular time, and to contextualize the social, political, religious or secular, and historical environment from which they arose.
- Recognize both differences and similarities between past eras and the present (Practiced)
- Students will gain understanding of the changes in instrumentation that have taken place in Indian music which can be fascinatingly traced through iconography, but will also assess how far the musical genres themselves have remained rooted in traditions that can be traced back many centuries.
- Critique existing analyses of earlier eras (Practiced)
- Students will read work by ethnomusicologists that re-assesses the divide between folk and classical music that writers often subscribed to in the early 20th century.
- Students will learn the diverse ways in which we can trace the history of Indian music - such as through historical court treatises and miniature paintings - and will be able to assess earlier claims on the genesis of certain genres and instruments.
- Use critical tools to assess historical source materials (Practiced)
- Students will read recent work by ethnomusicologists and cultural historians that examines the role of religion, regionalism, colonialism, and nationalism in the shaping of Indian music over the centuries.
- Students will use sources carefully, especially the Internet and Wikipedia, value peer-reviewed scholarship, and acknowledge all sources of information.
Multicultural Perspectives
- Demonstrate understanding of culture and cultural identities as dynamic rather than fixed categories, and describe the diverse ways in which they are produced, transformed, and maintained (Introduced, Practiced)
- Students will learn of the fluidity of identity within the Mughal courts during Akbar's reign, and understand that much of the North Indian Music performed today is the result of the productive interaction between Hindu Indians and Muslims who came to Indian and established the Mughal Empire.
- Students will examine how the identity of South Asian music within the USA and Europe has been subject to transformation by way of contact with British and North American popular musics, and how, in turn, western music and musicians have been transformed by their interaction with Indian music.
- Demonstrate knowledge of the history of racial and ethnic formation and stratification in national and transnational contexts, considering the intersections of race, ethnicity, class, gender, and sexuality (Introduced)
- Students will learn that music in India developed by way of a variety of genres, some of which were associated with the upper classes, while others are the preserve of the lower classes - such as the female "courtesans," the musical context of whom involves a rich intersection of class, gender, and sexuality.
- Describe how two or more ethnic groups have interacted in different historical contexts, and be able to discuss the dynamics of that relationship (Practiced)
- Students will demonstrate knowledge of the extraordinary interaction between Hindus and Muslims during the Mughal Empire, especially during the reign of Akbar; this was a relationship that produced great art and music which is still revered today.
- Students will become familiar with the concept of gharana, or musical lineage, which reveals the intimate relationship between Hindu and Muslim musicians over the course of hundreds of years.
- Students will learn that music and film became vehicles of expression for the increasingly strained relationship between Hindus and Muslims in the subcontinent in the 20th century, due to the dynamics of colonialism and nationalism.
- Demonstrate an understanding of processes of group formation and describe how marginalized groups have used diverse strategies to challenge racism and discrimination (Introduced)
- Students will learn that the Indian and South Asian Diaspora in the UK, Europe, and the USA drew on music from the homeland to express and affirm their identities in a climate of racism through the 1970s and 80s.
- Deploy the necessary critical tools to reflect on the artistic, literary, and intellectual traditions of marginalized groups-both nationally and internationally-and to appreciate the diversity of human thought and experience (Introduced)
- Students will gain understanding of a strong and ancient musical tradition that is often understood only as it is filtered through the margins of popular culture.
MUS 143: Mills College Percussion Group (1 Credits)
This ensemble performs music based on percussion that sometimes includes other instruments, from a tradition started at Mills College in the 1930s by composers Lou Harrison, Henry Cowell, and John Cage. It performs both classic works from the 20th century, and new pieces written especially for the group.
Note(s): Students must be able to read music proficiently. Limit 12 students. Open to undergraduates only. Open to juniors and seniors only.
Instructor Consent Required: Y
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Students gain insights into diversity of musical practices through rehearsal and performance.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Students demonstrate percussion techniques, and rhythmic approaches through practice and discussion with the instructor and their peers.
MUS 147: Introduction to Electronic Music (4 Credits)
Introduction to the techniques and theory of electronic music and basic recording techniques. Introduction to acoustics, the operation of standard analog electronic audio modules, and a survey of the compositional and artistic developments of the last 50 years. Hands-on experience in electronic music composition, recording, multi-tracking, signal processing, mixing, and creation of short compositions and studies using these resources.
Note(s): Open to non-majors. No previous music experience is required. Limit 17 students.
Meets the following Core requirements: Create, Innovate & Experiment
Meets the following Gen Ed requirements: Creation and Criticism in the Arts
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced)
- Students will come to recognize and acknowledge the pervasiveness of electronic music in and across cultures and how their approaches to the medium are influenced by their conditioning.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced)
- Students will explore different approaches to composing electronic music and broaden their knowledge of and openness to the diverse possibilities within this medium.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Introduced)
- Students will demonstrate their understanding of the fundamentals of acoustics and basic electronic music theory by analyzing works by their peers and established electronic music composers.
- For composers: To demonstrate the ability to write music, technical skills in the use of electronic and recording media, and an understanding of how to use these skills for creative ends. (Introduced, Practiced, Mastered)
- Students will demonstrate the ability to conceptualize, problem solve, plan out, perfect, and realize their technical and artistic visions in the creation of their electronic music compositions.
Core Goals:
Create, Innovate & Experiment
- Students will extend their creative strengths and skills. (Introduced, Practiced, Mastered)
- Students will actively engage in the creation of exercises and works in the medium of electronic music. Student work will be presented and critiqued throughout the semester, and will demonstrate their technical skills, and an understanding of the processes and creative possibilities of the medium.
- Students will design or produce work that demonstrates independent thinking, originality, and inventiveness. (Introduced, Practiced, Mastered)
- Students will engage in experimentation with independent, innovative ideas and original approaches to electronic music and the works they create in the medium of electronic music.
- Students will produce innovative solutions to real-world problems. (Introduced, Practiced)
- In the creation of works, students will learn skills and problem solving in electronic music and audio recording that are applicable to real-world jobs in a wide variety of technological industries/disciplines.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Students will actively engage in the creation of exercises and works in the medium of electronic music. Student work will be presented and critiqued throughout the semester, and will demonstrate an understanding of the processes and creative possibilities of the medium.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Students will apply their knowledge of compositional concepts when creating works in this medium.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Students will listen critically to the sounds they, their peers, and established artists create and they will use appropriate technical and aesthetic terms that they will learn in discussions of these works.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- In discussions students will respond to artistic works of their own making, that of their peers, and established artists regarding form, style, technique, and aesthetics.
- Understand or use collaborative techniques for the creation of an artistic or literary work (Introduced)
- Working in teams is encouraged, although each student is responsible for presenting their own individual work. Students also work collaboratively on a class project in which each student contributes individual work, and they will work in teams to mix all of their works together to form a new composition.
MUS 148: Post-Tonal Theory and Analysis (4 Credits)
An intensive study of theoretical issues associated with music from the early 20th century to the most recent experimental works. Emphasis is placed on developing and learning analytical methods and compositional techniques applicable to post-tonal music (such as pitch-class sets, centricity and important referential collections, invariance, combinatoriality, and integral serialism). The structure of the course may vary from a focus on a specific analytical method to analyses of a series of works approached through different theoretical perspectives.
Prerequisite(s): MUS 155
Meets the following Gen Ed requirements: Creation and Criticism in the Arts
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced)
- Knowledge of interactions between musical theory and broader movements in intellectual/cultural history, demonstrated in class discussions of readings assigned during the semester.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced)
- Familiarity with recent research that has applied post-tonal analytical methods to diverse repertories, demonstrated in class discussions of readings assigned during the semester.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Practiced)
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Mastered)
- Understanding of a broad range analytical concepts and methods associated with post-tonal theory and analysis.
- Ability to analyze a musical work written in a post-tonal idiom and express the results both verbally and in writing.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Through analysis of specific works, students will gain understanding of compositional processes developed by composers in the 20th century, which they may apply in their own work.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Familiarity with concepts and techniques employed in post-tonal theory and analysis, which students may apply in their own work, demonstrated in both class discussions and written assignments.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Analyze musical works using various methodologies developed for post-tonal music.
- Understanding terminology employed in post-tonal theory and analysis, demonstated in class discussions and in written work.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- Ability to consider analytical insights within cultural and intellectual history.
- Students possess an understanding of the aesthetic assumptions underlying post-tonal analytical methods, demonstrated by comparative study and discussion of specific works and analyses.
MUS 149: Creativity Seminar: conception, collaboration, realization. (4 Credits)
A place to explore ideas across a wide range of “making,” this seminar is based on the particular skill-sets and interests of the participants. Team-taught by both music faculty and invited guests, the focus will be on cooperation both within and across disciplines, respectful communication, the importance of “failure” in the learning process, and ultimately, the conception, production, and realization of new collaborative work.
Note(s): Lower division undergraduates may be permitted to take the course with the permission of the instructor(s) Limit 12 students. Open to undergraduates only.
Meets the following Core requirements: Create, Innovate & Experiment
Meets the following Gen Ed requirements: Creation and Criticism in the Arts
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Understanding their work within the framework of their own cultural and social milieux, and shaping/framing it in such a way as to have some bearing on the context in which it is placed, is the basis for the students' collaboration. This will be assessed through class discussion, written response papers, and journals.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Introduced, Practiced)
- Demonstrating the ability to conceptualize, plan, problem-solve, perfect, and realize performances, from both technical and aesthetic points of view.
- Through the continuous modification of their own skill sets with those of their peers, and through exposure to other collaborative works across disciplines, the students will further develop their awareness of a diversity of practices, musical and otherwise. This will be assessed through class discussion, written response papers, and journals, and the final work itself.
- For composers: To demonstrate the ability to write music, technical skills in the use of electronic and recording media, and an understanding of how to use these skills for creative ends. (Introduced, Practiced, Mastered)
- Creating original work that demonstrates a clear conceptual framework, the ability to solve problems, skillful execution, and an understanding of acoustics.
- This criterion may be relevant to some participants in the class, but not necessarily to all. Should notation and reading be required in the realization of class work, those within whose skill set it falls will be expected to continue to enhance those skills and refine them. Others will be busy with their own skill sets and creative needs.
Core Goals:
Create, Innovate & Experiment
- Students will extend their creative strengths and skills. (Introduced, Practiced)
- Since the object of the course is to create some form of public performance or other manifestation, the work itself, along with what they may be asked to write about it, should be enough to assess their commitment and creative development.
- Students will design or produce work that demonstrates independent thinking, originality, and inventiveness. (Introduced, Practiced)
- Since the object of the course is to create some form of public performance or other manifestation, the work itself, along with what they may be asked to write about it, should be enough to assess independent thinking, originality, and inventiveness.
- Students will produce innovative solutions to real-world problems. (Introduced)
- Applying their creative practice beyond the context of "the work" and developing an understanding of how their creativity might be harnessed in a diverse ways, will be assessed through discussion and journals.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Since the object of the course is to create some form of public performance or other manifestation, the work itself, along with what they may be asked to write about it, should be enough to assess their commitment and creative development.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- During the creative process the students will be expected to engage with a number of artistic concepts in order to better further their collaboration. These may be assessed through occasional critical response papers, but will largely manifest themselves in the final work itself.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Classroom discussion and readings, listenings, and viewings will be essential to the development of a useful vocabulary, assessed through occasional reponse papers.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- The work in question will mostly be their own work, giving the students a concrete and practical understanding of the importance of the issues in question. The end of semester summary paper will allow them to explore these issues in depth.
- Understand or use collaborative techniques for the creation of an artistic or literary work (Introduced, Practiced, Mastered)
- Since this is the basic raison d'etre for the course, the relative success of the students' undertakings will be evident in the final work itself.
MUS 154: Introduction to Computer Music (4 Credits)
Introduction to the theory, techniques, and literature of computer music via a hands-on, practical studio approach. Course includes a music- and art-oriented guide to computers—their architecture, programming, data structures, real-time control, and input-output techniques. Students will learn basic programming techniques on computer music systems. In addition, the course includes a survey of developments in computer music, and special activities in and around the Center for Contemporary Music.
Note(s): No previous music or computer experience is required. Limit 20 students.
Meets the following Core requirements: Create, Innovate & Experiment
Meets the following Gen Ed requirements: Creation and Criticism in the Arts
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced)
- Identify fundamental principles of acoustics and apply those principles to the programming of musical processes.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Investigate basic elements of musical style and design software structures that realize stylistic attributes.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Introduced)
- Listen to examples from 50 years of computer music practice and categorize selections on the basis of techniques employed and aesthetic properties achieved.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Introduced, Practiced, Mastered)
- Investigate methods of interaction with computer-based musical processes.
- Produce real-time computer music that incorporates improvisation.
- For composers: To demonstrate the ability to write music, technical skills in the use of electronic and recording media, and an understanding of how to use these skills for creative ends. (Introduced, Practiced, Mastered)
- Create expanded musical functionality by modifying given computer music programs.
- Identify and differentiate sound synthesis techniques and apply them in musically effective ways.
Core Goals:
Create, Innovate & Experiment
- Students will extend their creative strengths and skills. (Introduced, Practiced)
- Students will create musical pieces by programming computers to generate sound. They will learn to identify and differentiate sound synthesis techniques and apply them in new and musically effective ways.
- Students will design or produce work that demonstrates independent thinking, originality, and inventiveness. (Introduced, Practiced)
- Students will build projects using their own imaginative resources and aesthetic judgment. They will expand their musical imaginations by extending basic musical concepts into new musical areas.
- Students will produce innovative solutions to real-world problems. (Introduced)
- Students will design software structures that realize stylistic attributes of their own choosing. They will learn fundamental concepts of computer architecture and programming in a creative context that can by applied in real-world jobs in technological industries.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Create pieces of electronic music using computers.
- Develop music listening skills through critical evaluation of computer music compositions.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Apply artistic concepts to the electronic sound medium through the creation of computer music.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Articulate thoughts and feelings in response to other students' computer music compositions in class presentations and discussions.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- Discuss issues of genre, form, and style in relation to historical and contemporary computer music composition through the creation of listening journals.
MUS 155: Advanced Chromatic Harmony and Post-Tonal Theory (3 Credits)
A study of the rich harmonic vocabulary of late 19th- and 20th-century tonal music and an introduction to the theory and techniques employed in post-tonal music. Topics covered include: enharmonic modulation; extended tonality; ninth, eleventh, and thirteenth chords; modes and synthetic scales; pitch-class sets; and serialism. In addition to developing practical skills, course work emphasizes analysis and composition of original pieces based on the topics studied in class.
Prerequisite(s): MUS 056
Note(s): Designed for undergraduate music majors and graduate students who would like to strengthen their music theory background. Limit 15 students.
Meets the following Gen Ed requirements: Creation and Criticism in the Arts
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Practiced)
- Students demonstrate knowledge of various applications of chromatic harmony in a variety of musical styes and genres in classical music, jazz and popular music.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Practiced)
- Students demonstrate proficiency in labelling, pitch-class sets, artificial scales, and twelve-tone rows.
- Students demonstrate knowledge of notations for chord labeling used in chromatic harmony in classical music, jazz, and popular music.
- Students demonstrate listening skills in class discussion of specific works.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Practiced)
- Students compose chromatic progressions using techniques studied in class.
- Students compose and analyze atonal, twelve-tone, and extended tonal music.
- Students analyze chromatic progressions using techniques studied in class.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Practiced)
- Students compose and perform original works in class.
- Students analyze and critically evaluate works by other composers.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Practiced)
- Students demonstrate knowledge of formal archetypes, compositional methods, and aesthetic orientations explored by composers in the late-nineteenth and early twentieth centuries.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Practiced)
- Students demonstrate an ability to analyze musical works using various methodologies applied to tonal music and post-tonal music.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Practiced)
- Students consider their analytical insights within their cultural and intellectual contexts.
MUS 156: Tonal Analysis (3 Credits)
An intensive study of a single analytical method or a comparative survey of various 20th-century analytical techniques, such as Schenkerian analysis, Schoenbergian tonal theory, and Lehrdahl and Jackendoff's generative theory for tonal music, as applied to a selection of tonal music. Readings from older treatises may also serve as possible guides to analysis and the formulation of historically tempered analytical methodologies.
Prerequisite(s): MUS 155 and MUS 118
Meets the following Gen Ed requirements: Creation and Criticism in the Arts
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced)
- Understands aesthetic assumptions underlying analyses and theories studied in class.
- Understands relationships between historical theory and contemporaneous music.
- Understands crucial interactions between musical theory and broader movements in intellectual/cultural history.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced)
- Demonstrates an ability to apply analytical tools studied in class to music from diverse stylistic periods.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced)
- Analyzes a musical work written in a tonal idiom and express the results both verbally and in writing.
- Discovers analytical insights through focused listening to works studied in class.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Mastered)
- Understands a broad range analytical concepts and methods associated with tonal theory and analysis.
- Writes an analytical paper employing the techniques and methodologies studied in class.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Understands compositional processes and approaches to musical form developed by composers of tonal music in the 18th, 19th, and 20th centuries.
- Creates original and insightful musical analyses of tonal works.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Demonstrates familiarity with concepts and techniques employed in tonal theory and analysis.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Demonstrates an ability to analyze musical works using various methodologies applied to tonal music.
- Understands the terminology employed in tonal theory and analysis.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- Considers analytical insights within their cultural and intellectual contexts.
MUS 157: Seminar by Visiting Professor (2-3 Credits)
Note(s): Open to undergraduates only.
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced)
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Practiced)
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Practiced)
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Practiced)
MUS 159: Seminar in Musical Performance, Composition, and Improvisation (4 Credits)
A seminar in creative music making and improvisation for composers and performers, including students from other disciplines. Emphasis is placed on developing individual styles in composition and performance. Students work individually and collaboratively. Interdisciplinary collaborations are highly encouraged. Improvisation across disciplines is part of this exploration. We also evaluate compositions and interdisciplinary works from the last 30 years.
Note(s): Open to juniors, seniors, and graduate students. Limit 15 students.
Meets the following Core requirements: Create, Innovate & Experiment
Meets the following Gen Ed requirements: Creation and Criticism in the Arts
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced)
- Students will be exposed to a wide range of approaches to major concepts in contemporary art music, sound art, installations, video, and other art forms, and will reflect in discussions an understanding of the context in which these works were created and how these approaches may influence their own creative works.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Students will be exposed to a diversity of styles and forms of expression, and will demonstrate knowledge of and openness to different approaches as reflected in discussions and in their creative works.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Practiced, Mastered)
- Good musicianship skills will evidenced when students participate in performances of pieces presented, in analyzing and reading scores, and in notating their own compositions if scored music is their medium of choice. Scores that will challenge their concepts of what a score can be will further increase possibilities for communicating their intent to performers/participants.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Introduced, Practiced, Mastered)
- Performers will engage in challenging improvisations and performances and those using technology will demonstrate technical proficiency in presentation of their works.
- For composers: To demonstrate the ability to write music, technical skills in the use of electronic and recording media, and an understanding of how to use these skills for creative ends. (Introduced, Practiced, Mastered)
- Students will create compelling and challenging works that demonstrate their compositional abilities, technical skills, well-developed aesthetic, and creativity.
Core Goals:
Create, Innovate & Experiment
- Students will extend their creative strengths and skills. (Practiced, Mastered)
- Students will demonstrate their creative strengths and skills in the presentation of their compositions created in response to prompts given by their instructor throughout the course and in their presentations of their final large scale creation, all which may include a variety of art forms.
- Students will design or produce work that demonstrates independent thinking, originality, and inventiveness. (Practiced, Mastered)
- Students will present works in a variety of mediums that demonstrate original approaches, originality, and inventiveness in the creation and presentation of their works in both their responses to prompts given by their instructor throughout the course and in their presentation of their final large scale creation.
- Students will produce innovative solutions to real-world problems. (Practiced, Mastered)
- In the creation of works students will learn, engage in, and problem solve using technology across disciplines—skills that are applicable to real-world jobs in a wide variety of technological industries/disciplines.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced, Mastered)
- Actively engaged with performance and creation as well as with critical listening, students will critique one another's work as well as a broad variety of contemporary major works that are presented throughout the semester. These discussions will reflect a deepening understanding of contemporary art practice as it relates to their own performances and creative work.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Students will demonstrate their understanding of form, gesture, technique, device, and medium throughout the semester by creating and presenting works in a variety of art forms of choice to the class for discussion and often participation. They also demonstrate awareness of these concepts when improvising.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Students will demonstrate a deepening fluency and vocabulary in their discussions of works of their own, that of their classmates, and major contemporary artists.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- In discussions of their own work, as well as that of their classmates and major contemporary artists, students will respond to pertinent concepts such as form, style, reception, aesthetics, and influence..
- Understand or use collaborative techniques for the creation of an artistic or literary work (Introduced, Practiced)
- Collaborative work is highly encouraged in this course, within and across disciplines. Improvisations are inherently collaborative, and different approaches to and levels of collaborating will be explored. Collaboration is at the core of most musical practice and many art practices.
MUS 160: Practicum (2 Credits)
Individual instruction in composition and improvisation. Students may also enroll to study topics in music history, theory, ethnomusicology, or performance literature that are relevant to their creative practice.
Note(s): Maximum enrollment varies by instructor, in a range from 4 to 10 available places. Limit 8 students.
Instructor Consent Required: Y
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Practiced, Mastered)
- Can discuss her work in the context of diverse contemporary and historical styles and practices.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced, Mastered)
- Demonstrates the ability to realize her ideas with a mastery of whatever techniques are appropriate to that realization.
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Practiced, Mastered)
- Submits documentation of her work, such as a musical score, software, documentation of instrument(s) used, scholarly references, etc. that clearly specifies how the work was produced, using the notation or organizational system most appropriate to its medium.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Introduced, Practiced, Mastered)
- Demonstrates the ability to spontaneously realize her ideas with a mastery of whatever techniques are appropriate to that realization.
- For composers: To demonstrate the ability to write music, technical skills in the use of electronic and recording media, and an understanding of how to use these skills for creative ends. (Introduced, Practiced, Mastered)
MUS 161: Sound Techniques of Recording (4 Credits)
This course in recording engineering covers basic acoustics, the design and use of microphones, mixing consoles, tape machines (analog and digital), compressors, limiters, equalizers, reverb units, signal processors, and other equipment. Students will learn editing and multi-tracking in both analog and digital domains (Pro Tools) and will become proficient in our professional recording studios. No previous music or recording experience is required.
Prerequisite(s): MUS 161
Note(s): Open to non-majors. No previous music experience is required. Limit 17 students.
Meets the following Core requirements: Create, Innovate & Experiment
Meets the following Gen Ed requirements: Creation and Criticism in the Arts
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced)
- Students will come to recognize and acknowledge the pervasiveness of recorded music and sound in their lives and across cultures and how their approaches to the medium are influenced by their conditioning.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced)
- Students will explore and present different approaches to recording music and sound and broaden their knowledge of the diversity of possibilities within this medium.
- For composers: To demonstrate the ability to write music, technical skills in the use of electronic and recording media, and an understanding of how to use these skills for creative ends. (Introduced, Practiced, Mastered)
- Students will demonstrate the ability to conceptualize, problem solve, plan out, perfect, and realize their technical and artistic visions.
Core Goals:
Create, Innovate & Experiment
- Students will extend their creative strengths and skills. (Introduced, Practiced)
- Students will become fluent with recording technology and techniques, and they will also learn, then demonstrate, how to artistically formulate a work, how important recording quality is to convey the creative idea, and how important structure, texture, density, rhythm, dynamics, etc. are when creating recorded works.
- Students will design or produce work that demonstrates independent thinking, originality, and inventiveness. (Introduced, Practiced)
- Students will demonstrate originality and experimentation in their approaches to the art of recording by creating four works that demonstrate those ideals both technically and aesthetically.
- Students will produce innovative solutions to real-world problems. (Introduced, Practiced)
- In the creation of works, students will learn skills and problem solving in audio recording and audio mixing that are applicable to real-world jobs in a wide variety of technological industries/disciplines.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Students will have complete creative freedom when recording their projects for this class. They can compose and record their own or others' music or poetry, prose, plays, etc., or use their location recordings to develop soundscapes. Student work presented and critiqued throughout the semester will reflect an understanding of the processes and creative possibilities of the medium.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Students will become fluent with recording technology in this course, but they will also learn how to artistically formulate a work, how important recording quality is to convey the creative idea, and how important structure, texture, density, rhythm, dynamics, etc. are when creating recorded works.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Students will learn to listen very carefully, and with their increased awareness of sound and how difficult it is to accurately record sound, they will be able to critique recordings with a much keener sensibility and with a technical language that enables them to convey their perceptions to others more accurately. They will learn how technical issues can detract from or enhance the experience of listening to an artistic work.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- Students will respond to one another's works, discussing not only technical issues but form and style, aesthetics, and influences.
- Understand or use collaborative techniques for the creation of an artistic or literary work (Introduced, Practiced)
- Recording is inherently a collaborative art, with performers and engineers working together to produce works of art. Students are encouraged to engage with other students' projects by necessity. Students also collaborate as a class on a large-scale recording project which is performed by and often written by the students. Collaborative roles include writers, actors, songwriters, singers, composers, performers, directors, producers, and recording engineers.
MUS 163: The World of Opera (4 Credits)
A journey into the world of opera including European opera from Monteverdi through Mozart, to Verdi, Wagner and Britten, opera in the USA, and Chinese, Persian, and Russian works. Subjects range from, for example, Electra to the ethical dilemmas surrounding development of the atomic bomb in the New Mexico desert. Readings draw on critical perspectives from a variety of disciplines, including comparative literature and cultural studies, to examine race, gender, Orientalism, and the politics of representation. Includes film screenings and a trip to the San Francisco Opera.
Note(s): No previous study of music required. Graduate students with consent of instructor. Limit 25 students.
Meets the following Core requirements: Critical Analysis, International Perspectives
Meets the following Gen Ed requirements: Creation and Criticism in the Arts, Historical Perspectives, Multicultural Perspectives
Program Goals:
Music Program Goals
- To have a good grasp of Western music theory and history, demonstrated by analyses of scores and research papers on music history. (Introduced, Practiced)
- Students will demonstrate the ability to identify musical examples by ear as to period, style, country/region.
Core Goals:
Critical Analysis
- Students will critically analyze information and ideas. (Practiced)
- Demonstrate the ability to critically evaluate the canonization and reception of operas by scholars, music critics and audiences.
- Students will examine issues from multiple perspectives. (Practiced)
- The multivalence of operas in different traditions will be discussed from musicological, political, cultural, critical and performance perspectives.
- Students will engage in an exploration of the relationship between past systems of knowledge and present scholarly and creative approaches within and across disciplines. (Introduced)
- Question the omission of composers and their operas from histories of opera on the basis of race, ethnicity, gender or class - or of the representation of these categories in subversive ways on the stage. Current scholarly approaches bring voices which were hitherto silenced in the historiography of this art form.
- Discuss source readings from all periods of study, considering the differences between contemporary beliefs and thoughts, as well as identifying recurring themes in the history of compositional ideas and philosophies in the realm of opera.
- Students will consider how our understanding of significant questions and ideas is informed by the critical, scholarly, and creative approaches through which we approach those questions and ideas. (Introduced)
- Students will learn about the ways in which gender roles in Italian, German, British, Iranian, and Chinese operas have been explored through music and theater, and how changes in social and political realities have been effected, or reflected, by operatic practices.
- Students will develop discernment, facility and ethical responsibility in using information. (Practiced)
- Students will use sources carefully, especially the internet; value peer-reviewed scholarship, and acknowledge all sources of information in an ethical manner.
- Students will engage as active participants in the College's intellectual community. (Practiced)
- Students will take an active part in academic culture and community by participating in discussions, presenting their work, engaging in peer review, and taking part in an exchange of ideas.
International Perspectives
- Students will reflect on their value systems and way of understanding the world and understand that these are not universal. (Practiced)
- Demonstrate understanding that divergent traditions of musical theater cannot be judged from an ethnocentric perspective and that different operatic style and cultures require understanding on different cultural and aesthetic terms.
- Students will analyze the history, arts, politics, language, economy of a non-Western national context using scholarly or creative perspectives from the culture being studied and demonstrate the ability to contrast these with dominant US perspectives. (Practiced)
- Students will analyze Italian, German, Russian, Iranian, and Chinese musico-dramatic traditions through both creative and scholarly perspectives from within each of these traditions. Students examine how the cultural practices from these traditions have been misrepresented, misunderstood, and even erased from the operatic record in the US.
- Students will demonstrate knowledge of at least one ethnic or national group and its experiences outside of the United States. (Practiced)
- Students discuss and analyze the national, social, and cultural contexts of operatic forms produced in Italy, the UK, Germany, Iran and Russia. These studies involve significant understanding of the cultural, social, religious, and political experiences of the people in those countries.
- Students will demonstrate knowledge of intellectual and/or creative contributions from at least one culture, country, or region outside of the United States. (Practiced)
- Students will discuss and analyze the rich traditions of musico-dramatic theater in several countries outside the US. They will be encouraged to grasp the strong, national and sometimes religious traditions that have deep roots and that reflect concerns and aspirations of various peoples in different parts of the world.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Practiced)
- Students will engage with a wide variety of musical genres and styles in the world of opera through active listening and reading.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Practiced)
- Students will gain knowledge of the major concepts of European opera through history, along with other significant traditions around the world. They will learn how to identify specifics of style, form, and gesture in the performance of singers in a variety of roles.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Mastered)
- Students will demonstrate familiarity with the basic vocabulary of European opera, as well as that of certain world traditions such as Chinese opera. They will learn how to understand, interpret, and communicate about, the wide variety of styles we cover.
- Understand or use collaborative techniques for the creation of an artistic or literary work (Mastered)
- Students will gain understanding of the uniquely collaborative artistic genre of opera in which artists, dancers, directors, choreographers, composers and librettists come together with singers, chorus and orchestra, along with costume designers and lighting engineers to create an immensely rich and complex artistic spectacle.
Historical Perspectives
- Evaluate past events and trends from political, economic, artistic, cultural, philosophical, and social perspectives (Practiced)
- Students will demonstrate knowledge of the history of European Opera from its beginnings in late 16th-century Florence to the present day works by local composers, along with the history of Chinese opera.
- Students will demonstrate understanding of the political, social, and intellectual contexts of opera from 1600 to the present day.
- Students will discuss the social and aesthetic influences on the operas across several centuries and include references to the cultural background of composers, librettists, or works, studied.
- Recognize both differences and similarities between past eras and the present (Practiced)
- Students will demonstrate the ability to distinguish between early Baroque, classical, 19th century, and 20th century works, and determine continuities in musical style across the centuries.
- Discuss source readings from all periods of study, considering the differences between composers' beliefs and thoughts, as well as identifying recurring themes in the history of compositional ideas and philosophies in the realm of opera.
- Critique existing analyses of earlier eras (Practiced)
- Question the omission of composers and their operas from histories of opera on the basis of race, ethnicity, gender or class.
- Demonstrate the ability to critically evaluate the canonization and reception of operas by scholars, music critics and audiences.
- Use critical tools to assess historical source materials (Introduced)
- Students will use sources carefully, especially the internet and wikipedia, value peer-reviewed scholarship, and acknowledge all sources of information.
Multicultural Perspectives
- Demonstrate understanding of culture and cultural identities as dynamic rather than fixed categories, and describe the diverse ways in which they are produced, transformed, and maintained (Practiced)
- Students will learn about the influences across the world of opera and how musical styles overlap.
- Students will learn about Indian, Russian, Iranian, and Chinese musico-dramatic traditions, and demonstrate knowledge of the ways in which theatrical performance can be a powerful way of expressing diverse identities on stage.
- Demonstrate knowledge of the history of racial and ethnic formation and stratification in national and transnational contexts, considering the intersections of race, ethnicity, class, gender, and sexuality (Introduced)
- Students will learn about the ways in which gender roles in European, Indian and Chinese operas throughout history have been explored through music and theater, and how changes in societies have been reflected by opera.
- Students learn about how concepts of nationalism can be played out on the operatic stage in various national traditions.
- Students learn how race, ethnicity, class and sexuality intersect in works on the operatic stage - from 18th-century Vienna to 21st century USA.
- Demonstrate knowledge of the history of and current debates surrounding the concept of multiculturalism, particularly with regard to racism and anti-racism (Introduced)
- Demonstrate understanding that divergent traditions of musical theater cannot be judged from an ethnocentric perspective and that different operatic style and cultures require understanding on their own cultural and aesthetic terms.
- Deploy the necessary critical tools to reflect on the artistic, literary, and intellectual traditions of marginalized groups-both nationally and internationally-and to appreciate the diversity of human thought and experience (Practiced)
- Students will gain understanding of the rich traditions of musico-dramatic theater in several countries: strong, national and even religious traditions that have deep roots and that reflect concerns and aspirations of various peoples. in the world.
MUS 164: Advanced Audio Recording (4 Credits)
This course concentrates on the 24-track recording studio, utilizing multi-track recording and overdubbing, advanced microphone, equalization and compression techniques, mixing, and the use of analog and digital signal processors. Digital recording, editing, and plug-ins (Pro Tools) will be covered as well as CD-burning techniques. No previous music experience is required.
Prerequisite(s): MUS 161
Note(s): Open to non-majors. No previous music experience is required. Music 161/261 Sound Techniques is required, or consent of instructor. Limit 17 students.
Meets the following Core requirements: Create, Innovate & Experiment
Meets the following Gen Ed requirements: Creation and Criticism in the Arts
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Students will explore and present different approaches to recording music and sound, will broaden their skills, and increase their knowledge of the possibilities within this medium.
Core Goals:
Create, Innovate & Experiment
- Students will extend their creative strengths and skills. (Practiced, Mastered)
- Students will formulate, test, and develop ideas and become technically proficient in order to fully realize and express their creative visions in this medium.
- Students will design or produce work that demonstrates independent thinking, originality, and inventiveness. (Practiced, Mastered)
- Students will demonstrate original approaches to the art of recording in the works they create using unique, sophisticated, techniques when miking, processing, and mixing audio. They will also demonstrate their ability to inventively explore both technical and artistic ideas, resulting in original works that can include a wide variety of mediums (composition, poetry, prose, lyrics, soundscapes, sound design, art, and video, etc.).
- Students will produce innovative solutions to real-world problems. (Practiced, Mastered)
- In the creation of works, students will learn skills and problem solving in audio recording and audio mixing that are applicable to real-world jobs in a wide variety of technological industries/disciplines.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced, Mastered)
- Recording engineering is a creative endeavor, which is why it is often referred to as "the art of recording." Students will have complete creative control over content in two of the three projects required. Students must meet creative challenges and produce technically sound and stimulating works.
- Demonstrate familiarity with important artistic concepts (such as medium, form, device, and gesture) in at least one art form, or create and present her own artistic work by applying these concepts in her medium of choice (Introduced, Practiced)
- Students will demonstrate the artistic aspects of building and manipulating elements, architecting space, gesture, and form in their creations and in their approach to mixing their works. They are producing artistic works, and an understanding of artistic concepts is essential.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Students will couple their increased critical listening capabilities with the technical and artistic vocabulary required to convey their perceptions more accurately in discussion of one another's works.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- Students will respond to one another's works in discussion with reference to technique, form, style, aesthetics, influences, and technical concerns.
- Understand or use collaborative techniques for the creation of an artistic or literary work (Introduced, Practiced)
- Recording is inherently a collaborative art, with performers and engineers working together to produce works of art. Students are encouraged to collaborate in small teams on recording projects, although each student must make an independent mix. In two class projects students will participate as collaborators in a variety of roles such as recording engineer, mixing engineer, editor, producer, director, recording assistant, performer, and/or composer.
MUS 165: Sound Art (4 Credits)
An introduction to the history and practice of sound art, an interdisciplinary field with influences from music, sculpture, and interactive electronic arts. This course will survey groundbreaking work done by sound artists during the last three decades, and discuss the critical responses to it. Technologies relevant to the practice will be introduced and used in directed projects. Students will create and install their own sound artworks as the final outcome of the course.
Note(s): Open to sophomores, juniors, seniors, and graduate students.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Performers gain insights into musical practices outside of traditional genres through research of repertoire, performance and installations.
- For composers: To demonstrate the ability to write music, technical skills in the use of electronic and recording media, and an understanding of how to use these skills for creative ends. (Introduced, Practiced, Mastered)
- Composers create original works that demonstrate clear conceptual frameworks, skillful execution, and attention to acoustics.
MUS 170: African American Music: The Meaning and the Message (3 Credits)
This course is an exploration through discussion into the ideology of "African American" music, encouraging participants to reflect on how and why this music came to be so labeled. We will concentrate on pivotal periods in the evolution of this concept, highlighting the Harlem Renaissance and the Black Nationalism movement and their influence on America and world cultures.
Meets the following Gen Ed requirements: Creation and Criticism in the Arts, Multicultural Perspectives
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced)
- Students will learn about the role of music in the Harlem Renaissance and the black nationalism movement and their influence on American and world cultures.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Students will learn to distinguish between various historical styles and genres of African-American music, as well as understanding their multicultural roots and influences.
General Education Goals:
Creating & Critiquing Arts
- Engage with the creative process, either actively or critically (Introduced, Practiced)
- Students will develop the ability to research, present, and document an oral presentation on a selected topic from the history of African American music.
- Use the basic vocabulary fundamental to the criticism of art in her medium of choice, whether her own work or that of others (Introduced, Practiced)
- Students use correct musical terminology in expressing an informed and critical perspective about African American musical traditions.
- Construct a response to an artistic work that incorporates some of the following issues: genre, form and style, context, reception, aesthetics, or influence (Introduced, Practiced)
- Students present their own research on a topic from the history of African American that describes the relationship between musical style, social function, and historical influences.
Multicultural Perspectives
- Demonstrate understanding of culture and cultural identities as dynamic rather than fixed categories, and describe the diverse ways in which they are produced, transformed, and maintained (Introduced, Practiced)
- Students will learn about African-American music as a musical tradition that has changed continuously in relationship to its changing social and cultural context. The creation of an ideology that formed an identity for African-American music will be studied in order to understand its purpose and effect on the music.
- Demonstrate an understanding of processes of group formation and describe how marginalized groups have used diverse strategies to challenge racism and discrimination (Introduced, Practiced)
- Students will learn about the ways in which African-American music provided a response to, and a survival strategy for the conditions of slavery in America.
- Deploy the necessary critical tools to reflect on the artistic, literary, and intellectual traditions of marginalized groups-both nationally and internationally-and to appreciate the diversity of human thought and experience (Introduced, Practiced)
- Students will learn about the close interconnections of African-American music with other African-American literary, visual, and performance art forms to create cultural movements that have influenced America and cultures around the world.
MUS 181: MUS THEATER: NJINGA QUEEN KING (0.25-1.25 Credits)
MUS 183: Advanced Seminar in Music (3 Credits)
In-depth examination of and critical inquiry into a specific subject through shared readings, discussion, and written assignments. Course content to be determined by the instructor. May be repeated for credit when topics differ.
MUS 205: Selected Issues in Composition (4 Credits)
Individual problems in composition, planned to strengthen the student's knowledge of contemporary techniques and forms and to develop the student's fluency and stylistic growth.
Note(s): Open to graduate students only.
Program Goals:
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced)
- Write an artist statement that includes a discussion of the relationship of your compositional practice to contemporary culture and society.
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced)
- Present your own creative work in class, including an analysis of its strengths and weaknesses.
- Create and organize a performance of a new composition as a final project for the class.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced, Mastered)
- Participate in discussions and critiques of the works presented by other students.
- Critically analyze & clearly identify strengths and weaknesses in your own work, & the work of others.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Introduced, Practiced)
- Submit documentation for your final composition, such as a musical score, software, or documentation of an instrument used in it, that clearly specifies how the music is produced, using the notation most appropriate to its medium.
MUS 210: Selected Issues in Contemporary Performance and Improvisation (4 Credits)
Evolution of performance practice in contemporary music is examined through seminar discussion, research, and ensemble participation. Special topics will be selected that will include examination of the literature and techniques of innovative performers. Students will create individual and collaborative projects using improvisation, and ways of integrating improvisation into formal compositional structures, as the central focus. May be repeated for credit with the permission of the instructor.
Note(s): Open to graduate students only.
Program Goals:
Music Elec & Rec Media Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced)
- Discuss their improvisations and compositions in comparison with diverse contemporary and historical styles and practices.
- Write response papers to class listening sessions and assigned readings, and address cultural, political, social, and intellectual issues in class discussions.
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced)
- Discuss their improvisations and compositions in comparison with diverse contemporary and historical styles and practices.
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Introduced, Practiced)
- Write response papers to class listening sessions and assigned readings, and address cultural, political, social, and intellectual issues in class discussions.
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced)
- Write response papers to class listening sessions and assigned readings, and address cultural, political, social, and intellectual issues in class discussions.
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Introduced, Practiced)
- Discuss their improvisations and compositions in comparison with diverse contemporary and historical styles and practices.
Music Elec & Rec Media Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced)
- Create and organize class performances of new works that involve collaboration and improvisation.
Music Composition Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced)
- Create and organize class performances of new works that involve collaboration and improvisation.
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced)
- Create and organize class performances of new works that involve collaboration and improvisation.
Music Elec & Rec Media Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced, Mastered)
- Present their creative work in class, including an analysis of its potential strengths and weaknesses.
- Participate in class discussions of the works of their peers.
Music Composition Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced, Mastered)
- Participate in class discussions of the works of their peers.
Music Performance & Lit Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced, Mastered)
- Present their creative work in class, including an analysis of its potential strengths and weaknesses.
- Participate in class discussions of the works of their peers.
Music Composition Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced, Mastered)
- Present their creative work in class, including an analysis of its potential strengths and weaknesses.
Music Elec & Rec Media Program Goals
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Participate respectfully and articulately in discussions and critiques of the works presented in class, including those by other students.
- Participate in performances of the works of their peers.
Music Composition Program Goals
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Participate in performances of the works of their peers.
- Participate respectfully and articulately in discussions and critiques of the works presented in class, including those by other students.
Music Performance & Lit Program Goals
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Participate in performances of the works of their peers.
- Participate respectfully and articulately in discussions and critiques of the works presented in class, including those by other students.
Music Composition Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Introduced, Practiced, Mastered)
- Has a well-developed technical ability, and, where relevant, a comprehensive knowledge of the style(s) and repertoire pertaining to their area of expertise.
Music Elec & Rec Media Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Introduced, Practiced, Mastered)
- Has a well-developed technical ability, and, where relevant, a comprehensive knowledge of the style(s) and repertoire pertaining to their area of expertise.
Music Performance & Lit Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Introduced, Practiced, Mastered)
- Has a well-developed technical ability, and, where relevant, a comprehensive knowledge of the style(s) and repertoire pertaining to their area of expertise.
MUS 211: Improvisation Workshop (4 Credits)
This course will offer practical experience of non-idiomatic or pan-idiomatic improvisation in small and large group contexts. Emphasis will be on listening, understanding social structures and how they affect improvisation, basic ear training to improve rhythmic and melodic skills, and building self-confidence. Students should have at least intermediate instrumental or vocal skills.
Note(s): Open to graduate students only.
Instructor Consent Required: Y
Program Goals:
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced, Mastered)
- Students will be encouraged to experiment and develop their ideas, alone and with others, and to turn them into fully realized pieces, which will be performed at the end of semester concert.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced, Mastered)
- Through the process of regularly performing, and discussing their performances with their peers and the instructor, the students will develop the ability to critically analyze their own work and that of their colleagues.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Students will work together to produce collaborative concerts of music based in improvisation.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Through rigorous practice, rehearsal, performance and discussion of improvised music, students will gain mastery of her/his instrument or discipline, and insights into a diversity of musical practices.
MUS 212: Seminar in 20th-Century Literature and Theory (4 Credits)
Intensive studies in various aspects of the history, theory, and literature of contemporary music. Topics may include the New York School; theories of the 20th-century avant-garde; 20th-century theories of musical time; postmodernist aesthetics and criticism; the American experimentalist tradition; minimalism, music and politics in the 1960s, Morton Feldman, Karlheinz Stockhausen, and John Cage.
Note(s): Open to graduate students only.
Program Goals:
Music Elec & Rec Media Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced, Mastered)
- Understanding of aesthetic assumptions underlying twentieth-century music styles and theories studied in class, demonstrated by comparative study and discussion of specific works and analyses.
- Knowledge of interactions between twentieth-century musical styles and theories with broader movements in intellectual/cultural history, demonstrated in class discussions of readings assigned during the semester.
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Introduced, Practiced, Mastered)
- Knowledge of recent research in twentieth-century music scholarship applied to diverse repertories, demonstrated in class discussions of readings assigned during the semester.
- Understanding of aesthetic assumptions underlying twentieth-century music styles and theories studied in class, demonstrated by comparative study and discussion of specific works and analyses.
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced, Mastered)
- Knowledge of interactions between twentieth-century musical styles and theories with broader movements in intellectual/cultural history, demonstrated in class discussions of readings assigned during the semester.
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Introduced, Practiced, Mastered)
- Knowledge of interactions between twentieth-century musical styles and theories with broader movements in intellectual/cultural history, demonstrated in class discussions of readings assigned during the semester.
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced, Mastered)
- Knowledge of recent research in twentieth-century music scholarship applied to diverse repertories, demonstrated in class discussions of readings assigned during the semester.
- Understanding of aesthetic assumptions underlying twentieth-century music styles and theories studied in class, demonstrated by comparative study and discussion of specific works and analyses.
Music Elec & Rec Media Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced, Mastered)
- Knowledge of recent research in twentieth-century music scholarship applied to diverse repertories, demonstrated in class discussions of readings assigned during the semester.
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced)
- Knowledge of ways composers approach stylistic and technical challenges in their works, which may inform students' own compositional processes, demonstrated in class discussions and by studies of specific works.
Music Composition Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced)
- Students demonstrate an ability to produce an original, professional-level paper focussed on a subject relevant to the seminar topic.
- Knowledge of concepts, methodologies, and techniques employed in twentieth-century music scholarship, demonstrated in both class discussions and written assignments.
- Knowledge of ways composers approach stylistic and technical challenges in their works, which may inform students' own compositional processes, demonstrated in class discussions and by studies of specific works.
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced)
- Knowledge of concepts, methodologies, and techniques employed in twentieth-century music scholarship, demonstrated in both class discussions and written assignments.
Music Elec & Rec Media Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced)
- Students demonstrate an ability to produce an original, professional-level paper focussed on a subject relevant to the seminar topic.
- Knowledge of concepts, methodologies, and techniques employed in twentieth-century music scholarship, demonstrated in both class discussions and written assignments.
- Knowledge of ways composers approach stylistic and technical challenges in their works, which may inform students' own compositional processes, demonstrated in class discussions and by studies of specific works.
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced)
- Students demonstrate an ability to produce an original, professional-level paper focussed on a subject relevant to the seminar topic.
Music Elec & Rec Media Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced)
- Students demonstrate an ability to critically evaluate research in the field of twentieth-century music scholarship.
- Students demonstrate an ability to critically evaluate their colleagues' work during class discussions and presentations.
- Students demonstrate an ability to critically evaluate their own written work during individual meetings with the instructor.
Music Composition Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced)
- Students demonstrate an ability to critically evaluate research in the field of twentieth-century music scholarship.
Music Performance & Lit Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced)
- Students demonstrate an ability to critically evaluate their own written work during individual meetings with the instructor.
- Students demonstrate an ability to critically evaluate research in the field of twentieth-century music scholarship.
- Students demonstrate an ability to critically evaluate their colleagues' work during class discussions and presentations.
Music Composition Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced)
- Students demonstrate an ability to critically evaluate their colleagues' work during class discussions and presentations.
- Students demonstrate an ability to critically evaluate their own written work during individual meetings with the instructor.
MUS 219: Performance Practice of Baroque and Classical Music (4 Credits)
A study of historical performance practices of Baroque and classical music, with emphasis on both research and performance. A survey of the musical forms and compositional and performance styles of each period through music examples and source readings. Small ensemble work with class performances and guest lectures by prominent early music specialists. The course concludes with a final concert.
Note(s): Open to graduate students only.
MUS 224: Contemporary Instrumentation and Orchestration (4 Credits)
Historical, analytical, and practical study of instrumentation and orchestration, with emphasis on gaining advanced facility in writing for the orchestral instruments. The course surveys fundamental and advanced techniques for writing for each instrument. The course also covers the basics of score reading, notation, and copying. Focus will be on instrumentation and orchestration from the standpoints of 20th-century and world musics. Students are required to turn in several small and one large orchestrational assignment, as well as analytical projects.
Note(s): Open to graduate students only.
Program Goals:
Music Elec & Rec Media Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced)
- Demonstrates awareness of how issues around the idea of "orchestration" are understood across cultural, political and social boundaries, through engagement in class discussion.
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced)
- Demonstrates awareness of how issues around the idea of "orchestration" are understood across cultural, political and social boundaries, through engagement in class discussion.
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Introduced, Practiced)
- Demonstrates awareness of how issues around the idea of "orchestration" are understood across cultural, political and social boundaries, through engagement in class discussion.
Music Elec & Rec Media Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced)
- Is able to successfully realize works composed in class through rehearsal and performance.
- Applies techniques learned in class to their own work.
Music Composition Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced)
- Applies techniques learned in class to their own work.
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced)
- Applies techniques learned in class to their own work.
Music Composition Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced)
- Is able to successfully realize works composed in class through rehearsal and performance.
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced)
- Is able to successfully realize works composed in class through rehearsal and performance.
Music Elec & Rec Media Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced)
- Through discussion and rehearsal process, can identify and articulate areas of strength and weakness in works composed in class.
- Demonstrates ability to read, analyze, and compare scores, and to consider the implications for her or his own work, during class discussions.
Music Composition Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced)
- Demonstrates ability to read, analyze, and compare scores, and to consider the implications for her or his own work, during class discussions.
Music Performance & Lit Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced)
- Through discussion and rehearsal process, can identify and articulate areas of strength and weakness in works composed in class.
- Demonstrates ability to read, analyze, and compare scores, and to consider the implications for her or his own work, during class discussions.
Music Composition Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced)
- Through discussion and rehearsal process, can identify and articulate areas of strength and weakness in works composed in class.
Music Elec & Rec Media Program Goals
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Demonstrates ability to discuss scores and techniques with peers and the professor, and to articulate the issues arising therefrom.
- Collaborates with peers on presentations of their own and others' work performed during class and at the final class concert.
Music Composition Program Goals
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced)
- Collaborates with peers on presentations of their own and others' work performed during class and at the final class concert.
- Demonstrates ability to discuss scores and techniques with peers and the professor, and to articulate the issues arising therefrom.
Music Performance & Lit Program Goals
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Collaborates with peers on presentations of their own and others' work performed during class and at the final class concert.
- Demonstrates ability to discuss scores and techniques with peers and the professor, and to articulate the issues arising therefrom.
Music Composition Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Introduced, Practiced)
- Demonstrates technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, through class performances and discussions.
Music Elec & Rec Media Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Introduced, Practiced)
- Demonstrates technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, through class performances and discussions.
Music Performance & Lit Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Introduced, Practiced)
- Demonstrates technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, through class performances and discussions.
MUS 225: Individual Instruction in Performance and Composition (2 Credits)
Open to all graduate students. Lessons are not covered by tuition and must be arranged in person through the Music Department's administrative assistant prior to the first day of classes. Students may audition for lesson scholarships which must be applied for through the Music Department's administrative assistant prior to the first day of classes.
Note(s): See individual lesson instructors in faculty roster. Open to graduate students only.
Program Goals:
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Practiced)
- Demonstrates a developed understanding of cultural, political, social, and intellectual issues relevant to her/his work.
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Practiced)
- Discuss the music that they perform in relationship to the cultural, political, social, and intellectual issues of the historical eras when they were created.
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Practiced)
- Can discuss her/his work in the context of diverse contemporary and historical styles and practices.
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced, Mastered)
- Demonstrates the ability to conceive, create, and realize successful new work in her/his chosen discipline.
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced, Mastered)
- Students demonstrate their original approaches to the interpretation and execution of music that they perform and/or improvise.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced, Mastered)
- Through the process of regularly performing, and discussing their performances with their instructor, students will develop the ability to critically analyze their own work in relationship to that of their peers.
Music Composition Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced, Mastered)
- Is able to critically analyze & clearly identify strengths and weaknesses in her/his own work and the work of others.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Submits documentation of her/his work, such as a musical score, software, documentation of instrument(s) used, scholarly references, etc. that clearly specifies how the work was produced, using the notation or organizational system most appropriate to its medium.
Music Performance & Lit Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Through rigorous practice, rehearsal, and performance students demonstrate growing mastery of their instrument or discipline, and insights into a diversity of musical practices.
Music Composition Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Demonstrates the ability to effectively realize her/his ideas with a mastery of whatever techniques are appropriate to that realization.
MUS 225A: Indiv Instr Instruction: Cello (0.5 Credits)
MUS 225AA: Indiv Inst Instruction: Bass (0.25-0.5 Credits)
MUS 225AB: Indiv Inst Instruction: Sitar (0.25-0.5 Credits)
MUS 225B: INDIV INSTRUM INST-COMPOSITION (0.5-1 Credits)
MUS 225BB: Indiv Instr Instruction: Sitar (0.5 Credits)
MUS 225C: INDIV INSTRUC PERF&COMP FLUTE (2 Credits)
MUS 225CC: Indiv Instr Instruction: Voice (2-4 Credits)
MUS 225D: Indiv Instrum Instr: Harp (0.5 Credits)
MUS 225F: INDIV INSTRUM INST-ORGAN (0.5-1 Credits)
MUS 225G: Indiv Instr Instruction: Piano (2 Credits)
MUS 225I: Indiv Instr Instruction:Violin (0.5-1 Credits)
MUS 225J: Indiv Instrum Instr: Viola (0.5 Credits)
MUS 225L: INDIV INSTRUC - SAXOPHONE (2-4 Credits)
MUS 225M: Indiv Instrum Instr: Harpsich (0.5 Credits)
MUS 225O: Indiv Instr Instruct: Trumpet (0.5 Credits)
MUS 225OU: Indiv Instr Instruct: Oud (0.5 Credits)
MUS 225P: Ind Instr Instr: Percussion (2 Credits)
MUS 225Q: INDIV INSTRUM INST - GUITAR (0.5-1 Credits)
MUS 225R: Indiv Instruction: Composition (2 Credits)
MUS 225S: Indiv Instrum Inst: Gamelan (2 Credits)
MUS 225T: INDIV INST INSTRU DOUBLE BASS (2 Credits)
MUS 225V: Indiv Instrum Instr: Trombone (0.5 Credits)
MUS 225W: Indiv Instr: Viola Da Gamba (0.5 Credits)
MUS 225Z: INDIV INSTRUCT VOICE (0.5-1 Credits)
MUS 227: Contemporary Performance Ensemble (2 Credits)
This ensemble is dedicated to the study and performance of contemporary music from a wide range of perspectives, including both established "classics" and selected new works written by student composers especially for the group. All instruments and voices are welcome. Auditions for new members of the ensemble are held during the first session of each semester.
Note(s): Open to graduate students only.
Instructor Consent Required: Y
MUS 228: Gamelan Ensemble (2 Credits)
The performance practice and theory of Javanese gamelan music are studied through playing and composing in this traditional Indonesian percussion ensemble, using the famed American gamelan built by composer Lou Harrison with William Colvig. All levels of musical expertise are welcome.
Note(s): Open to graduate students only.
Program Goals:
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Introduced, Practiced)
- Students demonstrate a basic understanding of Javanese musical theory, including background about its cultural setting.
- Through practice, students learn a music and a performance practice which are differ markedly from both Western and many other traditions.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced)
- Students will develop critical listening skills and use them to evaluate their own and others' performances.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- By preparing music presented in class for performance, students work together to communicate the emotional content of the music to the audience.
- By playing in a small ensemble students learn to listen to others and work together as a group toward a common goal.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Introduced, Practiced)
- Students demonstrate ability to play the traditional music of Java, learning many different parts.
MUS 229: Haitian Drumming (2 Credits)
Renowned master of Haitian drumming Daniel Brevil has worked to foster an understanding of Haiti, its traditions, and its distinct cultural expressions. Students will study basic patterns of the traditional rhythms and songs from Port Au Prince (Haiti) and small creole dialog. This course will also provide students with an introduction to the culture and history of Haiti.
MUS 230: Vocal Jazz Improvisation Ensemble (2 Credits)
The ability to sing in tune is required; an adventurous spirit is suggested. This class explores the boundaries of vocal ensemble through an array of improvisational exercises and lesser-known, yet expanded, jazz choral arrangements. Voice technique; ensemble blend and balance; and jazz rhythms, song forms, and scat singing are also integral to this work which often yields greater personal and creative freedom. Informal group audition at the first rehearsal. Culminates in a "salon" performance.
Note(s): Open to graduate students only.
Program Goals:
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Introduced, Practiced)
- Students will be able to demonstrate an "openness" to music related to jazz, blues, and other music from the African Diaspora, and free-form improvisation.
- Students are able to describe the connection between the music that they perform and the social and cultural environments that influence them.
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced)
- By the end of the semester, students demonstrate the ability to spontaneously create and perform coherent musical ideas through their singing.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced)
- Through repeated rehearsals and performances, students are encouraged to provide critical feedback of their own work and that of their peers.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Students communicate efficiently and professionally with each other as members of the ensemble in rehearsals and in performance.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Introduced, Practiced)
- Students have the ability to perform jazz standards and basic blues improvisation, in addition to exploring avant-garde, experimental vocal styles.
MUS 231: Performance Collective (2 Credits)
Performance Collective is devoted to the practice and performance of vocal and instrumental chamber music from the Baroque era to the 21st century. Through participation in weekly master classes students enhance chamber music skills, develop interpretations of a variety of musical styles and periods, and prepare and perform concerts held in Mills Hall and Littlefield Concert Hall. Students form a true collective by performing practical tasks of a concert as well as their chosen repertoire. Prerequisite: At least one year of private instruction. Entrance determined by informal audition.
Note(s): Entry to the course is determined by informal audition.
Program Goals:
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced, Mastered)
- Students are encouraged to bring their creativity to bear on the interpretation of works from a range of styles and eras. Their interpretations are presented and analyzed in masterclass and recital settings.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced, Mastered)
- Through repeated rehearsals and performances, students are encouraged to provide critical feedback of their own work and that of their peers.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- All of the activities of the Performance Collective are by definition collaborative, and the students' ability to work productively at a high level is continuously monitored.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Through weekly sessions with one of the Performance Collective coaches, the students continue to develop their technical skills through the process of engaging with scores from a range of past and contemporary composers and styles.
MUS 232: Early Music Vocal Ensemble—Beginning (2 Credits)
The purpose of this vocal ensemble is to study and perform early music. Emphasis is on the musical styles and forms of the Middle Ages, Renaissance, and Baroque periods. Students will develop their ability to perform in small ensembles and improve such aspects of singing as intonation, articulation, phrasing, balance, and interpretation. This course is geared toward students and faculty who have not had much vocal or choral experience and have beginning sight-reading skills.
Note(s): Open to graduate students only.
Program Goals:
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Introduced)
- Knowledge of the relationship between musical works and broader movements in intellectual/cultural history are demonstrated in class discussions of works performed during the semester.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced)
- Students demonstrate an ability to critically evaluate their own performance work during rehearsals and individual meetings with the instructor.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Students communicate efficiently and professionally with each other as members of the ensemble in rehearsals and in performance.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Introduced, Practiced)
- Students develop their ability to perform in small ensembles and improve such aspects of singing as intonation, articulation, phrasing, balance and interpretation.
MUS 233: Early Music Vocal Ensemble (2 Credits)
The purpose of this vocal ensemble is to study and perform early music. Emphasis is on the musical styles and forms of the Middle Ages, Renaissance, and Baroque periods. Students will develop their ability to perform in small ensembles and improve such aspects of singing as intonation, articulation, phrasing, balance, and interpretation. This course is designed for students and faculty with choral experience and sight reading skills.
Note(s): Open to graduate students only.
Program Goals:
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Introduced, Practiced)
- Knowledge of the relationship between musical works and broader movements in intellectual/cultural history are demonstrated in class discussions of works performed during the semester.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced)
- Students demonstrate an ability to critically evaluate their own performance work during rehearsals and individual meetings with the instructor.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Students communicate efficiently and professionally with each other as members of the ensemble in rehearsals and in performance.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Introduced, Practiced)
- Students develop their ability to perform in small ensembles and improve such aspects of singing as intonation, articulation, phrasing, balance and interpretation.
MUS 234: Early Music Instrumental Ensemble (2 Credits)
The Mills Early Music Instrumental Ensemble explores the fascinating and gorgeous repertoires of the Medieval, Renaissance, and the Baroque periods. All instruments are welcome, modern or early. No prior experience in early music is required, just a sense of musical adventure! This class will include some basic improvisation exercises as well as ensemble techniques, stylistic differences in the various eras and countries, ornamentation and divisions, musicianship, and more, all which will apply directly to the music we’ll work on for a short performance. Students must be able to read music.
Program Goals:
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Introduced, Practiced)
- Knowledge of the relationship between musical works and broader movements in intellectual/cultural history are demonstrated in class discussions of works performed during the semester.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced)
- Students demonstrate an ability to critically evaluate their own performance work during rehearsals and individual meetings with the instructor.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Students communicate efficiently and professionally with each other as members of the ensemble in rehearsals and in performance.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Introduced, Practiced)
- Students develop their ability to perform in small ensembles and improve such aspects of singing as intonation, articulation, phrasing, balance and interpretation.
MUS 235: Early Music Ensemble—Baroque (2 Credits)
This class explores the music of the 17th and 18th centuries for mixed ensembles of instruments and voices. All instrumentalists and singers are welcome. The department has harpsichords for keyboard players who wish to gain experience playing figured bass. The course will culminate in a lunchtime concert. Participation in the Baroque Ensemble will develop skills in rhythm, sightreading, intonation, ensemble playing, and ornamentation.
Note(s): Open to graduate students only.
Program Goals:
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Introduced, Practiced)
- Knowledge of the relationship between musical works and broader movements in intellectual/cultural history are demonstrated in class discussions of works performed during the semester.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced)
- Students demonstrate an ability to critically evaluate their own performance work during rehearsals and individual meetings with the instructor.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Students communicate efficiently and professionally with each other as members of the ensemble in rehearsals and in performance.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Introduced, Practiced)
- Students develop their ability to perform in small ensembles and improve such aspects of singing as intonation, articulation, phrasing, balance and interpretation.
MUS 236: Music Instrument Building (2 Credits)
The primary objective of this course is for each student to construct a musical instrument of her own design within the duration of a single semester. Guidance is furnished for all phases of the project—conception, design, planning, and construction. Emphasis is placed on maintaining a consistent connection between concept, process, and result, with a working prototype being the primary goal rather than a polished final product. Research on acoustics, electronics, and traditional instrument construction may be required between classes. No prior hand-tool or machine-tool experience necessary.
Program Goals:
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced)
- By conceiving, designing, planning and constructing their own instruments, students will be encouraged to develop their own creative ideas and execute them to professional standards.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced)
- Through discussions of their own work and that of their peers, students will exercise their critical faculties in a productive and respectful way.
- Through the process of conceiving, designing, planning, and constructing their own musical instrument, and observing the parallel processes of their peers, students will engage their critical faculties on multiple levels, learning what will and will not work, what techniques should be employed, and how the expected outcome may need to be modified, as well as assessing the results and learning from them.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced)
- Through the discussion with the instructor and their peers of every stage of their projects - conception, design, planning and production - students will demonstrate the ability to communicate responsibly and effectively, and to collaborate efficiently.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Introduced, Practiced)
- Through the process of designing and building an instrument that is intended to be played, students will demonstrate mastery of their musical discipline and an understanding of the context from which it arises.
MUS 237: Seminar in Music Literature and Criticism (4 Credits)
This seminar is devoted to the intensive examination of a major topic in musical literature (recent topics include Migration and Music; Music and Conflict; Béla Bartók and Igor Stravinsky), with exploration of appropriate research methods and bibliographical resources. Students may choose a focus for their research depending on their individual emphasis, whether historical studies, analysis, compositional style, or performance practice. Emphasis on developing advanced skills in oral and written communication through in-depth interdisciplinary studies.
Note(s): Seniors and graduate students from other majors who have some musical background are welcome. The senior project may be completed in conjunction with this seminar for music students with an emphasis in history/theory. Graduate theses may be developed out of this seminar's research paper and presentation. Limit 15 students. Open to seniors only.
Program Goals:
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Introduced, Practiced, Mastered)
- Demonstrate openness to a variety of musical case-studies discussed in the seminar and to the political, social and cultural issues they raise.
- Demonstrate the ability to consider musical works in a variety of contexts (historical, political, social, aesthetic, philosophical, etc) during seminar discussions.
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced, Mastered)
- Demonstrate the ability to consider musical works in a variety of contexts (historical, political, social, aesthetic, philosophical, etc) during seminar discussions.
- Demonstrate openness to a variety of musical case-studies discussed in the seminar and to the political, social and cultural issues they raise.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced)
- Demonstrate the ability to accept and act on feedback on seminar participation, research proposal, seminar presentation, and paper draft and final paper.
- Ask questions following their peers' seminar presentations that engage with their peer's research.
Music Performance & Lit Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced)
- Demonstrate the ability to accept and act on feedback on seminar participation, research proposal, seminar presentation, and paper draft and final paper.
- Ask questions following seminar presentations by students that engage with each student's research.
- Participate in discussions that analyze weaknesses and strengths following seminar presentations by every student.
Music Composition Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced)
- Participate in discussions that analyze weaknesses and strengths following seminar presentations by every student.
Music Performance & Lit Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Introduced, Practiced)
- Demonstrate the ability to take notes on assignments and during seminar discussions in order to organize research and to acquire knowledge of repertory/literature and draw on that knowledge in discussions, papers, and presentations.
- Show an interest in further reading and research on various topics introduced during the seminar.
- Range widely across the history of music, literature on music, and reception history in seminar discussion.
Music Composition Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Introduced, Practiced)
- Show an interest in further score-reading and research on various topics introduced during the seminar.
- Demonstrate the ability to take notes on assignments and during seminar discussions in order to organize research and listening and to acquire knowledge of repertory and draw on that knowledge in discussions, papers, and presentations.
MUS 241: The Music of India: Brahma to Bhangra (3 Credits)
An introduction to the classical music of South Asia from Vedic times to the present, along with selected dance traditions, regional/popular music genres, film music, and Indian music in the West. Critical issues include gender, religion, identity, colonialism, nationalism, and diaspora. Students learn basic vocal and rhythmic techniques of Hindustani music, develop insights into the historical, cultural, aesthetic, and performance facets of Indian music through listening and reading assignments; audio/video material; correspondences with South Asian art history; and guest presentations.
Note(s): No previous study or knowledge of music required. Limit 25 students. Open to graduate students only.
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced, Mastered)
- Students will recognize the historical, political, religious and cultural contexts within which a wide variety of classical, regional, and popular musical genres were conceived and performed in India, and how ancient traditions inform contemporary practices.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Students will demonstrate familiarity with and openness to a wide variety of vocal and instrumental musical traditions from across the Indian subcontinent, in both religious and secular contexts.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Introduced, Practiced)
- Students will learn basic vocal and rhythmic techniques of Hindustani music, and will practice counting out rhythmic cycles and singing the pitch syllables of particular modes, in class sessions and guest lectures-demonstrations.
- Students will learn to identify particular rhythmic cycles in recorded and live music examples, and to identify particular modes.
MUS 242: Music Improvisation Ensemble II (2 Credits)
This intensive course gives experienced musical improvisers a chance to further refine their skills at every level. Revisiting the basic building blocks of music we will examine questions of form, rhythm, timbre, and melody from the improviser's perspective, while working to improve both individual and group improvising techniques. The semester will culminate in a public performance conceived and directed by the ensemble members.
Note(s): Registration for this course requires the instructor's consent for any student who is not in the improvisation specialization of the MFA Performance program. Limit 12 students. Open to graduate students only.
Instructor Consent Required: Y
Program Goals:
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced, Mastered)
- Students are expected to have a developed vocabulary on their instrument or voice, and a clear understanding of how and when to deploy that vocabulary.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Practiced, Mastered)
- Through the process of performing, and discussing their own and others' performances, students will learn how to identify their strengths and weaknesses, and how to use that analysis to further their development as spontaneous composers.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Practiced, Mastered)
- Participants are expected to demonstrate professional standards of rehearsal discipline, personal preparation, commitment to the ensemble, and the respectful exchange of ideas.
- The ensemble provides an ongoing laboratory for the participants to experiment and explore their ideas. Ensemble members will be expected, through the process of collaboration, to prepare and present at least one public performance.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Students are expected to have a well-developed technical ability, and, where relevant, a comprehensive knowledge of the style(s) and repertoire pertaining to their area of expertise.
MUS 243: Mills College Percussion Group (2 Credits)
This ensemble performs music based on percussion that sometimes includes other instruments, from a tradition started at Mills College in the 1930s by composers Lou Harrison, Henry Cowell, and John Cage. It performs both classic works from the 20th century, and new pieces written especially for the group.
Note(s): Students must be able to read music proficiently. Limit 12 students. Open to graduate students only.
Instructor Consent Required: Y
Program Goals:
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced, Mastered)
- Students demonstrate the ability to make creative decisions about the choice of percussion instruments and techniques to use in realizing music for percussion ensemble.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Practiced, Mastered)
- Students can provide critical analysis of their own performances, as well as those of other students in the ensemble.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Practiced, Mastered)
- Students demonstrate high standards for preparing their instruments and practicing their parts, and collaborate effectively with each other in achieving professional level standards of ensemble performance.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Students demonstrate strong technique on a variety of percussion instruments, the ability to perform with rhythmic accuracy on them, and the ability to follow a conductor in realizing their part in musical scores. They also demonstrate a knowledge of percussion ensemble repertoire of various styles.
MUS 248: Post-Tonal Theory and Analysis (4 Credits)
An intensive study of theoretical issues associated with music from the early 20th century to the most recent experimental works. Emphasis is placed on developing and learning analytical methods and compositional techniques applicable to post-tonal music (such as pitch-class sets, centricity and important referential collections, invariance, combinatoriality, and integral serialism). The structure of the course may vary from a focus on a specific analytical method to analyses of a series of works approached through different theoretical perspectives.
Note(s): Open to graduate students only.
Program Goals:
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced, Mastered)
- Knowledge of interactions between musical theory and broader movements in intellectual/cultural history, demonstrated in class discussions of readings assigned during the semester.
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Introduced, Practiced, Mastered)
- Understanding of aesthetic assumptions underlying analytical methodologies and musical languages studied in class, demonstrated by comparative study and discussion of specific works and analyses.
- Knowledge of recent research that has applied post-tonal analytical methods to diverse repertories, demonstrated in class discussions of readings assigned during the semester.
- Knowledge of interactions between musical theory and broader movements in intellectual/cultural history, demonstrated in class discussions of readings assigned during the semester.
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced, Mastered)
- Understanding of aesthetic assumptions underlying analytical methodologies and musical languages studied in class, demonstrated by comparative study and discussion of specific works and analyses.
- Knowledge of recent research that has applied post-tonal analytical methods to diverse repertories, demonstrated in class discussions of readings assigned during the semester.
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced)
- Knowledge of concepts and techniques employed in post-tonal theory and analysis, which students may apply in their own performance practices and interpretations, demonstrated in both class discussions and written assignments.
- Knowledge of ways composers approach formal and technical challenges in their works, which may inform students' performance practices and interpretations, demonstrated in class discussions and by analytical studies of specific works.
Music Composition Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced)
- Knowledge of ways composers approach formal and technical challenges in their works, which may inform students' own compositional processes, demonstrated in class discussions and by analytical studies of specific works.
- Knowledge of concepts and techniques employed in post-tonal theory and analysis, which students may apply in their own compositions, demonstrated in both class discussions and written assignments.
- Ability to produce original, professional-level written work in the field of post-tonal theory and analysis.
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced)
- Ability to produce original, professional-level written work in the field of post-tonal theory and analysis.
Music Composition Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced)
- Students demonstrate an ability to critically evaluate their colleagues' work during class discussions and presentations.
- Students demonstrate an ability to critically evaluate their own written work during individual meetings with the instructor.
- Students demonstrate an ability to critically evaluate scholarly research in the field of post-tonal analysis.
Music Performance & Lit Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced, Mastered)
- Students demonstrate an ability to critically evaluate their colleagues' work during class discussions and presentations.
- Students demonstrate an ability to critically evaluate scholarly research in the field of post-tonal analysis.
- Students demonstrate an ability to critically evaluate their own written work during individual meetings with the instructor.
MUS 250: Thesis for the Master's Degree (4 Credits)
The thesis requirement, supervised by a faculty committee, consists of a written paper and a performance component that takes place either as part of the Signal Flow Festival or as a separate recital. Students also participate in group meetings to discuss preliminary plans for their performance and written thesis, and attend two graduate review sessions during which they critically evaluate their own work and that of their peers.
Note(s): Open to graduate students only.
Program Goals:
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced, Mastered)
- Create compositions, installations, and/or sound art presentations that demonstrate understanding of diverse contemporary and historical styles and practices.
- Write a written thesis that demonstrates understanding of relevant cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices.
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Introduced, Practiced, Mastered)
- Improvisation specialization: prepare and present a Signal Flow performance that demonstrates knowledge of diverse contemporary and historical styles and practices.
- Write a thesis that demonstrates a developed understanding of relevant cultural, political, social, and intellectual issues in diverse contemporary and historical styles and practices.
Music Elec & Rec Media Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced, Mastered)
- Create compositions, installations, and/or sound art presentations that demonstrate understanding of diverse contemporary and historical styles and practices.
- Write a thesis that demonstrates understanding of relevant cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices.
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Introduced, Practiced, Mastered)
- Solo/chamber specialization: prepare and present a recital that demonstrates knowledge of diverse contemporary and historical styles and practices.
Music Composition Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced, Mastered)
- Conceive, create, and realize the performance of a new composition, installation, or sound art manifestation in the context of the Signal Flow graduate thesis festival.
- Submit an original, well-researched, and professionally written thesis paper suitable for publication.
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced, Mastered)
- Submit an original, well-researched, and professionally written thesis paper suitable for publication.
Music Elec & Rec Media Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced, Mastered)
- Conceive, create, and realize the performance of a new composition, installation, or sound art manifestation in the context of the Signal Flow graduate thesis festival.
- Submit an original, well-researched, and professionally written thesis paper suitable for publication.
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced, Mastered)
- Solo/chamber specialization: in consultation with their instrumental/vocal instructor, conceive and perform a full-length recital of professional quality.
- Improvisation specialization: conceive and realize an improvisational performance of professional quality in the context of the Signal Flow graduate thesis festival.
Music Elec & Rec Media Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced, Mastered)
- Contribute critical insights and constructive comments to discussions of plans for performances and written work by their peers during Graduate Thesis meetings and Thesis Review sessions.
Music Composition Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced, Mastered)
- Contribute critical insights and constructive comments to discussions of plans for performances and written work by their peers during Graduate Thesis meetings and Thesis Review sessions.
- Critically analyze and identify strengths and weaknesses in their own work and that of their peers during the Graduate Thesis Review at the end of their final semester.
Music Performance & Lit Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced, Mastered)
- Contribute critical insights and constructive comments to discussions of plans for performances and written work by their peers during Graduate Thesis meetings and Thesis Review sessions.
- Critically analyze and identify strengths and weaknesses in their own work and that of their peers during the Graduate Thesis Review at the end of their final semester.
Music Elec & Rec Media Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced, Mastered)
- Critically analyze and identify strengths and weaknesses in their own work and that of their peers during the Graduate Thesis Review at the end of their final semester.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Productively collaborate in preparing and producing their own work and that of their peers at the Signal Flow graduate thesis festival.
Music Performance & Lit Program Goals
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Productively collaborate with their peers in preparing and producing a solo recital or Signal Flow performance.
Music Composition Program Goals
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Productively collaborate in preparing and producing their own work and that of their peers at the Signal Flow graduate thesis festival.
Music Performance & Lit Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Solo/chamber specialization: present a solo recital, complete with well-researched program notes, that demonstrates technical mastery of her/his instrument and a comprehensive knowledge of its styles and repertoire, past and present.
- Improvisation specialization: present a performance at the Signal Flow festival which demonstrates the ability to effectively realize their ideas using techniques appropriate to that realization.
Music Elec & Rec Media Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Master the techniques appropriate for the effective realization of their ideas.
Music Composition Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Document their final composition, in an appropriate form such as a musical score, software, or description of instrument(s) used, that clearly specifies how the music is produced, using the notation or organizational system most appropriate to its medium.
- Master the techniques appropriate for the effective realization of their ideas.
Music Elec & Rec Media Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Document their final composition, in an appropriate form such as a musical score, software, or description of instrument(s) used, that clearly specifies how the music is produced, using the notation or organizational system most appropriate to its medium.
MUS 251: Seminar in Computer Music (4 Credits)
Theory and practice of computer music: digital audio recording and mixing, software synthesis, digital signal processing, and instrument and sound design. Presentation and discussion of student works of electronic music, development of experimental compositional strategies made possible by electronic technology.
Note(s): Qualified undergraduates may take this class as an Independent Study, only with instructor's sponsorship. Limit 15 students. Open to graduate students only.
Program Goals:
Music Elec & Rec Media Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced)
- Discuss the evolving roles of computer music in contemporary culture and reflect an awareness ot them in completion of assigned works.
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced, Mastered)
- Create an original piece of music (that may also involve other media) using computer music techniques.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Practiced, Mastered)
- Reflect a critical approach to your own work in the creation of original works.
- Participate in class discussions of your own work, and that of others.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced)
- Collaborate with others in creating and/or performing original computer music works.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Write software for creating music on a computer, reflecting an understanding of the theory of digital audio and computer programming skills.
MUS 252: Seminar in Electronic Music Performance (4 Credits)
Real-time performance systems, concert audio, and interactive electronics: sound diffusion, MIDI controllers, analog-to-digital interfaces, electronic instrument building, interactive sound installations, composition languages, and computer music networks. Presentation and discussion of student works of electronic music; development of experimental compositional strategies made possible by electronic technology.
Note(s): Undergraduates may enroll as Independent Study students with the consent of instructor. Limit 15 students. Open to graduate students only.
Program Goals:
Music Elec & Rec Media Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced)
- Examine and discuss issues of technological use in the arts and the socio-political implications and ramifications of such use.
- Assess and critique musical examples of contemporary electronic music performance on aesthetic as well as technical grounds.
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced, Mastered)
- Compose short electronic works in response to class project criteria incorporating sound diffusion, MIDI control, electro-acoustic sources, network interaction, and real-time audio analysis.
- Produce and perform class projects in class and in formal concert at the end of the semester.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Practiced, Mastered)
- Develop listening skills and critique other student's work in class in a seminar format.
- Explain methods employed in class projects and discuss their musical attributes.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Investigate new musical properties made possible by real-time group composition and performance.
- Build collaborative performances using unique interconnection capabilities of electronic technologies.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Construct hardware and software instruments and refine them through musical performance practice.
- Categorize and compare historical and contemporary uses of electronic technology for sonic art and musical performance.
MUS 256: Tonal Analysis (4 Credits)
An intensive study of a single analytical method or a comparative survey of various 20th-century analytical techniques, such as Schenkerian analysis, Schoenbergian tonal theory, and Lehrdahl and Jackendoff's generative theory for tonal music, as applied to a selection of tonal music. Readings from older treatises may also serve as possible guides to analysis and the formulation of historically tempered analytical methodologies.
Note(s): Open to graduate students only.
Program Goals:
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced, Mastered)
- Understand crucial interactions between musical theory and broader movements in intellectual/cultural history.
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Introduced, Practiced, Mastered)
- Understand relationships between historical theory and contemporaneous music.
- Understand aesthetic assumptions underlying analyses and theories studied in class.
- Understand crucial interactions between musical theory and broader movements in intellectual/cultural history.
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced, Mastered)
- Understand relationships between historical theory and contemporaneous music.
- Understand aesthetic assumptions underlying analyses and theories studied in class.
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced)
- Write an original professional-level analytical paper employing the analytical techniques and methodologies studied in class.
- Understand concepts, methodologies, and techniques employed in the field of tonal analysis.
Music Composition Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced)
- Understand concepts, methodologies, and techniques employed in the field of tonal analysis.
- Write an original professional-level analytical paper employing the analytical techniques and methodologies studied in class.
- Create original and insightful musical analyses of tonal works.
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced)
- Create original and insightful musical analyses of tonal works.
Music Composition Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced)
- Critically evaluate research in the field of tonal analysis.
- Critically evaluate their colleagues' work during class discussions and presentations.
- Critically evaluate their own written work during individual meetings with the instructor.
Music Performance & Lit Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Introduced, Practiced, Mastered)
- Critically evaluate their own written work during individual meetings with the instructor.
- Critically evaluate their own written work during individual meetings with the instructor.
- Critically evaluate their colleagues' work during class discussions and presentations.
MUS 257: Seminar by Visiting Professor (2-4 Credits)
Note(s): Open to graduate students only.
MUS 259: Seminar in Musical Performance, Composition, and Improvisation (4 Credits)
A seminar in creative music making and improvisation for composers and performers, including students from other disciplines. Emphasis is placed on developing individual styles in composition and performance. Students work individually and collaboratively. Interdisciplinary collaborations are highly encouraged. Improvisation across disciplines is part of this exploration. We also evaluate compositions and interdisciplinary works from the last 30 years.
Note(s): Open to juniors, seniors, and graduate students. Limit 15 students.
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced, Practiced)
- Students will be exposed to a wide range of approaches to major concepts in contemporary art music, sound art, installations, video, and other art forms, and will reflect in discussions an understanding of the context in which these works were created and how these approaches may influence their own creative works.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced, Mastered)
- Students will be exposed to a diversity of styles and forms of expression, and will demonstrate knowledge of and openness to different approaches as reflected in discussions and in their creative works.
- To be able to notate and read music proficiently. To achieve excellent musicianship skills (through sight singing and ear training.) (Practiced, Mastered)
- Good musicianship skills will evidenced when students participate in performances of pieces presented, in analyzing and reading scores, and in notating their own compositions if scored music is their medium of choice. Scores that will challenge their concepts of what a score can be will further increase possibilities for communicating their intent to performers/participants.
- For performers: To demonstrate technical mastery of her instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present, and to have learned and developed improvisation skills in addition to studying the standard repertory. (Introduced, Practiced, Mastered)
- Performers will engage in challenging improvisations and performances and those using technology will demonstrate technical proficiency in presentation of their works.
- For composers: To demonstrate the ability to write music, technical skills in the use of electronic and recording media, and an understanding of how to use these skills for creative ends. (Introduced, Practiced, Mastered)
- Students will create compelling and challenging works that demonstrate their compositional abilities, technical skills, well-developed aesthetic, and creativity.
MUS 260: Practicum (2 Credits)
Individual instruction in composition and improvisation. Students may also enroll to study topics in music history, theory, ethnomusicology, or performance literature that are relevant to their creative practice.
Note(s): Maximum enrollment varies by instructor, in a range from 4 to 10 available places. Limit 8 students. Open to graduate students only.
Instructor Consent Required: Y
Program Goals:
Music Elec & Rec Media Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Practiced)
- Demonstrates a developed understanding of cultural, political, social, and intellectual issues relevant to her/his work.
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Practiced)
- Demonstrates a developed understanding of cultural, political, social, and intellectual issues relevant to her/his work.
- Can discuss her/his work in the context of diverse contemporary and historical styles and practices.
Music Performance & Lit Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical and sound art practices. (Practiced)
- Demonstrates a developed understanding of cultural, political, social, and intellectual issues relevant to her/his work.
- Can discuss her/his work in the context of diverse contemporary and historical styles and practices.
Music Elec & Rec Media Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Practiced)
- Can discuss her/his work in the context of diverse contemporary and historical styles and practices.
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced, Mastered)
- Demonstrates the ability to conceive, create, and realize successful new work in her/his chosen discipline.
Music Performance & Lit Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Practiced, Mastered)
- Demonstrates the ability to conceive, create, and realize successful new work in her/his chosen discipline.
Music Composition Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced, Mastered)
- Demonstrates the ability to conceive, create, and realize successful new work in her/his chosen discipline.
Music Elec & Rec Media Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced, Mastered)
- Is able to critically analyze & clearly identify strengths and weaknesses in her/his own work and the work of others.
Music Composition Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced, Mastered)
- Is able to critically analyze & clearly identify strengths and weaknesses in her/his own work and the work of others.
Music Performance & Lit Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, and the work of others. (Practiced, Mastered)
- Is able to critically analyze & clearly identify strengths and weaknesses in her/his own work and the work of others.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Demonstrates the ability to effectively realize her/his ideas with a mastery of whatever techniques are appropriate to that realization.
- Submits documentation of her/his work, such as a musical score, software, documentation of instrument(s) used, scholarly references, etc. that clearly specifies how the work was produced, using the notation or organizational system most appropriate to its medium.
Music Elec & Rec Media Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Demonstrates the ability to effectively realize her/his ideas with a mastery of whatever techniques are appropriate to that realization.
- Submits documentation of her/his work, such as a musical score, software, documentation of instrument(s) used, scholarly references, etc. that clearly specifies how the work was produced, using the notation or organizational system most appropriate to its medium.
Music Composition Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Demonstrates the ability to effectively realize her/his ideas with a mastery of whatever techniques are appropriate to that realization.
- Submits documentation of her/his work, such as a musical score, software, documentation of instrument(s) used, scholarly references, etc. that clearly specifies how the work was produced, using the notation or organizational system most appropriate to its medium.
MUS 261: Sound Techniques of Recording (4 Credits)
This course in recording engineering covers basic acoustics, the design and use of microphones, mixing consoles, tape machines (analog and digital), compressors, limiters, equalizers, reverb units, signal processors, and other equipment. Students will learn editing and multi-tracking in both analog and digital domains (Pro Tools) and will become proficient in our professional recording studios. No previous music or recording experience is required.
Prerequisite(s): MUS 161
Note(s): Open to non-majors. No previous music experience is required. Limit 17 students.
Program Goals:
Music Program Goals
- To understand music within a broad cultural, political, social and intellectual context. (Introduced)
- Students will come to recognize and acknowledge the pervasiveness of recorded music and sound in their lives and across cultures and how their approaches to the medium are influenced by their conditioning.
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced)
- Students will explore and present different approaches to recording music and sound and broaden their knowledge of the diversity of possibilities within this medium.
- For composers: To demonstrate the ability to write music, technical skills in the use of electronic and recording media, and an understanding of how to use these skills for creative ends. (Introduced, Practiced, Mastered)
- Students will demonstrate the ability to conceptualize, problem solve, plan out, perfect, and realize their technical and artistic visions.
MUS 264: Advanced Audio Recording (4 Credits)
This course concentrates on the 24-track recording studio, utilizing multi-track recording and overdubbing, advanced microphone, equalization and compression techniques, mixing, and the use of analog and digital signal processors. Digital recording, editing, and plug-ins (Pro Tools) will be covered as well as CD-burning techniques. No previous music experience is required.
Prerequisite(s): MUS 161
Note(s): Open to non-majors. No previous music experience is required. Music 161/261 Sound Techniques is required, or consent of instructor. Limit 17 students. Open to graduate students only.
Program Goals:
Music Elec & Rec Media Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced, Mastered)
- Students will demonstrate the ability to conceptualize, problem solve, plan out, perfect, and realize their technical and distinctive creative visions at professional level.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced, Mastered)
- In discussions of their works and the works of their classmates, students will demonstrate the ability to critically analyze and clearly identify strengths and weaknesses in her/his own work, the work of her/his classmates, and the work of others.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced)
- Recording is inherently a collaborative art, with performers and engineers working together to produce works of art. Students are encouraged to collaborate in small teams on recording projects, although each student must make an independent mix. In two class projects students will collaborate, demonstrating their abilities by participating in a variety of roles such as recording engineer, mixing engineer, editor, producer, director, recording assistant, performer, and/or composer.
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Students will demonstrate the ability to conceptualize, problem solve, plan out, perfect, and realize their technical and artistic visions in this medium.
MUS 265: Sound Art (4 Credits)
An introduction to the history and practice of sound art, an interdisciplinary field with influences from music, sculpture, and interactive electronic arts. This course will survey groundbreaking work done by sound artists during the last three decades, and discuss the critical responses to it. Technologies relevant to the practice will be introduced and used in directed projects. Students will create and install their own sound artworks as the final outcome of the course.
Note(s): Open to sophomores, juniors, seniors, and graduate students.
Program Goals:
Music Program Goals
- To possess a knowledge of and openness to a diversity of musical styles and practices. (Introduced, Practiced)
- Performers gain insights into musical practices outside of traditional genres through research of repertoire, performance and installations.
- For composers: To demonstrate the ability to write music, technical skills in the use of electronic and recording media, and an understanding of how to use these skills for creative ends. (Introduced, Practiced, Mastered)
- Composers create original works that demonstrate clear conceptual frameworks, skillful execution, and attention to acoustics.
MUS 266: Advanced Orchestration Seminar (4 Credits)
A seminar combining analysis of the orchestration of selected 20th-century works with practice in scoring original compositions for large ensembles. Students will be required to compose short compositions for standard instrument choirs, and organize a performance of a composition for any instruments of their choosing for a final class concert.
Prerequisite(s): MUS 224
Note(s): Open to graduate students only.
Program Goals:
Music Elec & Rec Media Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced)
- Students discuss their compositions in class in comparison with diverse contemporary and historical styles and practices.
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced)
- Students discuss their compositions in class in comparison with diverse contemporary and historical styles and practices.
Music Elec & Rec Media Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced, Mastered)
- Students compose several instrumental pieces and organize the performance of one of them for the final class concert.
Music Composition Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced, Mastered)
- Students compose several instrumental pieces and organize the performance of one of them for the final class concert.
Music Elec & Rec Media Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced, Mastered)
- Students present analyses of their own works in class, and participate in discussions and critiques of the works presented by other students.
Music Composition Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced, Mastered)
- Students present analyses of their own works in class, and participate in discussions and critiques of the works presented by other students.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Students collaborate with other members of the class in producing and presenting their final composition projects on a class concert.
Music Elec & Rec Media Program Goals
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Students collaborate with other members of the class in producing and presenting their final composition projects on a class concert.
Music Composition Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Students submit documentation for their final composition, such as a musical score, that clearly specifies how the music is produced, using the notation most appropriate to its medium.
Music Elec & Rec Media Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Students submit documentation for their final composition, such as a musical score, that clearly specifies how the music is produced, using the notation most appropriate to its medium.
MUS 280: Special Topics (0.25-1.25 Credits)
MUS 291: Composition Seminar (4 Credits)
Individual and group work, discussion and performance of student works, and examination of past and present composers. MUS 291 in the fall is recommended for students entering the MA in composition. MUS 291 in the spring is recommended for students preparing compositions for their Signal Flow presentations.
Note(s): Open to graduate students only.
Program Goals:
Music Elec & Rec Media Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced)
- Discuss their compositions in comparison with diverse contemporary and historical styles and practices.
Music Composition Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced)
- Write an artist statement that includes a discussion of the relationship of their compositional practice to contemporary culture and society.
- Discuss their compositions in comparison with diverse contemporary and historical styles and practices.
Music Elec & Rec Media Program Goals
- To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices. (Introduced, Practiced)
- Write an artist statement that includes a discussion of the relationship of their compositional practice to contemporary culture and society.
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced)
- Create and organize a performance of a new composition as a final project for the class.
Music Composition Program Goals
- To have distinctive creative ideas and the ability to realize them successfully on a professional level. (Introduced, Practiced)
- Create and organize a performance of a new composition as a final project for the class.
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced, Mastered)
- Present their creative work in class, including an analysis of its strengths and weaknesses.
Music Elec & Rec Media Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced, Mastered)
- Participate in discussions and critiques of the works presented by other students.
- Present their creative work in class, including an analysis of its strengths and weaknesses.
Music Composition Program Goals
- To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others. (Introduced, Practiced, Mastered)
- Participate in discussions and critiques of the works presented by other students.
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Collaborate with other members of the class in producing and presenting final composition projects on a class concert.
Music Elec & Rec Media Program Goals
- To be able to productively collaborate with others in professional contexts relating to her/his area of expertise. (Introduced, Practiced, Mastered)
- Collaborate with other members of the class in producing and presenting final composition projects on a class concert.
Music Composition Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Submit documentation for their final composition, such as a musical score, software, or documentation of instrument(s) used, that clearly specifies how the music is produced, using the notation or organizational system most appropriate to its medium.
Music Elec & Rec Media Program Goals
- To demonstrate a technical mastery of her/his instrument or discipline, and a comprehensive knowledge of its styles and repertoire, past and present. (Practiced, Mastered)
- Submit documentation for their final composition, such as a musical score, software, or documentation of instrument(s) used, that clearly specifies how the music is produced, using the notation or organizational system most appropriate to its medium.
Faculty
David Bernstein
Professor of Music
Music 264, 510.430.2025, davidb@mills.edu
Professional Interests: John Cage, Pauline Oliveros, American experimentalism, avant-garde music and aesthetics, Arnold Schoenberg's tonal theories, post-tonal theory and analysis, 20th-century music literature, the history of late 19th- and early 20th-century harmonic theory
John Bischoff
Professor of Music
Composer
Luther Brusie Marchant Professorship
Music 244, 510.430.2331, bischoff@mills.edu
Professional Interests: Composition; electronic music for solo performers, computer network bands, and instrumental ensembles; alternative tuning systems; electroacoustic instrument construction
James Fei
Professor of Intermedia and Electronic Arts
Program Head of Art and Technology
Department Head of Music
Music 231, 510.430.2329, jfei@mills.edu
Professional Interests: Composition, improvisation, sound installation, live electronic music, recording, intermedia
Nalini Ghuman
Professor of Music
Music 265, 510.430.2332, nalinig@mills.edu
Professional Interests: Nineteenth- and 20th-century Western classical music and opera; solo and chamber piano performance; ethnomusicology (particularly North Indian vocal music and Welsh folk music); cultural studies; post-colonial perspectives on musical orientalism, nationalism, and cross-cultural musical exchange
Roscoe Mitchell
Professor of Music
Darius Milhaud Professorship
Music 276, 510.430.2200, rmitchell@mills.edu
Professional Interests: Composition and the performance of composed and improvised music
Zeena Parkins
Distinguished Visiting Artist, Spring
Music 275, 510.430.2142, zenpark1@me.com
Professional Interests: Composition; improvisation; sound installations; recording; sound processing; inventing new harps; performances of music: acoustic/electric, analog/digital, composed/improvised; writing scores for film, theater and dance with a particularly strong commitment to collaborative work with choreographers and visual artists
Laetitia Sonami
Professor of Music
Music 243, 510.430.2330, laetitia@sonami.net
Professional Interests: Composition, strategies for live performance of electronic music, new interfaces and wearables, interactive systems, sound installations in the pubic sphere, intermedia, collaborations with writers, film makers and dancers
Jennifer Wilsey
Assistant Adjunct Professor
Music 248, 650.464.1052, jwilsey@mills.edu
Professional Interests: The practices and pedagogies of improvisation, composition, musicianship, music theory, and percussion; contemplative practices in education; tuning systems.
Staff
Steed Cowart
Concert Coordinator
Music 138, 510.430.2334, steed@mills.edu
Les Stuck
Technical Director
Music 233, 510.430.2336, les@mills.edu
Stephanie Neumann
Faculty Administrative Assistant
Music 137, 510.430.2171, sneumann@mills.edu