This course is a continuation of AME191.  Emphasis is on the development of critical listening skills and proficiency in audio mixing and mastering. Fundamental topics covered include the human auditory system, theories of hearing and audio perception, perception of loudness and pitch, critical bands and auditory masking, beats and roughness, temporal and pitch acuity, binaural hearing.  Listening skills development include hearing “width” and “depth” in audio, mixing techniques in various musical genres, recognition of various effects including reverb, delay, compression, phasing and distortion. Production skills development includes equalization and achieving spectral balance, the use of compression and dynamic range control, achieving depth and dimension in recordings, panning and auditory scene control.  Students will complete an extensive mixing and mastering project at the end of the course.  Prerequisite: AME 191

A "music appreciation" course that celebrates the "ears-on" experience of various aspects of musical performance. Participants develop listening skills through live musical presentations, in-class performances, discussions with the performers and living composers, and guided listening sessions. Students will attend some rehearsals and concerts, including at least one Rochester Philharmonic concert at the Eastman Theatre.

Location

(TR 12:30PM - 1:45PM)

A course for the student with no previous musical experience. Topics covered include notation, intervals, chords, and other basic concepts of tonal harmony, with application to the study of a wide range of styles including popular idioms. Students should not be able to read music. Students who complete MUR 110 may NOT enroll in MUR 101, credit will NOT be given for both.

Location

Strong Auditorium Room 011 (MW 9:00AM - 10:15AM)

Private carillon instruction, weekly 30-minute lessons or the equivalent.

By audition only. Permission of instructor required.

Introduces students to basic musicianship skills. Begins with exercises in pitch matching and basic interval recognition and progresses toward other skills, such as singing simple melodies at sight, sight-reading various rhythmic patterns, and dictating simple melodies and chord progressions. Prospective music majors, especially those with prior singing experience, typically skip this course and begin with MUR 113.

Location

(MW 10:55AM - 11:45AM)

Introduces students to basic musicianship skills. Begins with exercises in pitch matching and basic interval recognition and progresses toward other skills, such as singing simple melodies at sight, sight-reading various rhythmic patterns, and dictating simple melodies and chord progressions. Prospective music majors, especially those with prior singing experience, typically skip this course and begin with MUR 113.

Location

(TR 2:00PM - 2:50PM)

Basic concepts of music theory, addressing students with some musical experience in an instrument or voice, but little or no music theory. Scales, keys, intervals, chords, basic part-writing, and other fundamental aspects of musical structure. Some ear training and aural skills. Prerequisite: The ability to read music, preferably in both treble and bass clefs. Students who have completed MUR 101 may NOT register for MUR 110, credit will NOT be given for both.

Location

(TR 12:30PM - 1:45PM)

This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical music. Prospective music majors should begin their theory requirement with this course. Prerequisites: MUR 101, 110 or permission of instructor (placement test).

Location

(TR 11:05AM - 12:20PM)

This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical? music. Prospective music majors should begin their theory requirement with this course.

Prerequisites: MUSC 101, 110 or permission of instructor (placement test).

Location

Dewey Room 1305 (MW 12:30PM - 1:45PM)

This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical? music. Prospective music majors should begin their theory requirement with this course. Prerequisites: MUR 101, 110 or permission of instructor (placement test)

Location

Gavett Hall Room 206 (MW 2:00PM - 3:15PM)

This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical music. Prospective music majors should begin their theory requirement with this course. Prerequisites: MUR 101, 110 or permission of instructor (placement test).

Location

(MW 10:25AM - 11:40AM)

This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical? music. Prospective music majors should begin their theory requirement with this course. Prerequisites: MUR 101, 110 or permission of instructor (placement test).

Location

Dewey Room 1305 (TR 11:05AM - 12:20PM)

This course develops basic musicianship skills with an emphasis of diatonic sight-singing, rhythmic sight-reading, and dictation of diatonic melodies and chord progressions. The exercises and in-class activities are similar to MUR 109 but at a more advanced level. (1 credit)

Location

(TR 9:00AM - 9:50AM)

This course develops basic musicianship skills with an emphasis of diatonic sight-singing, rhythmic sight-reading, and dictation of diatonic melodies and chord progressions. The exercises and in-class activities are similar to MUR 109 but at a more advanced level. (1 credit)

Location

(TR 11:00AM - 11:50AM)

This course develops basic musicianship skills with an emphasis of diatonic sight-singing, rhythmic sight-reading, and dictation of diatonic melodies and chord progressions. The exercises and in-class activities are similar to MUR 109 but at a more advanced level. (1 credit)

Location

(TR 10:00AM - 10:50AM)

Continuation of MUR 113 with an increased emphasis on chrom- aticism, especially simple modulation and mode mixture. The course puts emphasis on ensemble singing and aural analysis. Prerequisites: MUR 113 or permission of theory coordinator. (1 credit)

Location

(MW 9:00AM - 9:50AM)

Continuation of MUR 114 with greater emphasis on chromaticism and aural analysis. (1 credit) Prerequisite: MUR 114.

Location

(MW 10:00AM - 10:50AM)

Introduces students to the keyboard as a vehicle for broader musical development. Covers basic piano technique, sight-reading of simple chord progressions, realization of figured bass, and basic improvisation. No prior keyboard training required. Permission of instructor required. (2 credits)

Location

Dewey Room 1305 (MW 8:00AM - 8:50AM)

Continuation of MUR 116. Students completing this course fulfill the piano proficiency for the music major.

Prerequisite: MUR 116 or permission of instructor. (2 credits)

Location

Dewey Room B349 (MW 11:50AM - 12:40PM)

River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire. *Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits)

Location

Eastman School Of Music Room 443 (MW 6:35PM - 7:25PM)

River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire. *Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits)

Location

Eastman School Of Music Room 443 (TR 7:00PM - 7:00PM)

Eastman School Of Music Room 443 (TR 5:35PM - 6:25PM)

River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire. *Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits)

Location

Eastman School Of Music Room 443 (TR 6:35PM - 7:25PM)

River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire. *Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits)

Location

Eastman School Of Music Room 443 (TR 5:35PM - 6:25PM)

This course will focus on the development of African American music from the 19th century through the latter part of the 20th century. We will study how African American music can be used a lens through which to understand the black American experience and the social and political landscape of American society as a whole. The historical, social, economic, and musical factors of various black American music genres will be examined with the aim to understand how African Americans constructed identity and interpreted the world around them. We will also discuss the performative aspects of these genres in order to understand how black music artists used their bodies and asserted their agency through performance on stage. Genres to be explored include the 19th century spiritual, the blues, gospel, jazz, early rock and roll, soul music, funk, rhythm and blues, and hip hop, among others.

Location

Online Room 12 (ASE) (MW 12:30PM - 1:45PM)

A look at the historical deals and innovations that have impacted the music business between 1877 to present. From ground breaking inventions to brilliant marketing initiatives to hushed back-room deals, this course will expose the key moments where the record industry changed forever, both for good and bad. ** NOTE: This is a 6 week course**

Location

Dewey Room 1305 (T 5:00PM - 7:00PM)

The history of the Beatles career and music is explored in the context of the bands stylistic development, as well as against the backdrop of social, cultural, technical, and music-business events and issues of the 1950s, 60s and 70s. No background in music theory or ability to play a musical instrument is required.

Location

Dewey Room 1305 (TR 2:00PM - 3:15PM)

An introduction to the history of Western classical music from the Middle Ages to the present, with emphasis on recognition of the chief stylistic characteristics and understanding of major genres of each period.

Prerequisite: MUR 112 or permission of instructor.

Location

(MW 12:30PM - 1:45PM)

This course introduces the basics of conducting technique, score study, interpretation, rehearsing, and programming. While the class will acknowledge differences in leading various ensembles, the focus will be on orchestra conducting. The class will include the opportunity to lead students in the class in live performance. As such, students should feel comfortable performing on an instrument or singing as part of a group. Students must be able to read music and analyze harmonic and formal structures.

Prerequisites: MUR 112 required. MUR 211 strongly recommended. May take concurrently with MUR 211.

Location

Dewey Room 2110D (MW 3:20PM - 4:35PM)

Provides an introduction to the science and technology of audio. Students will learn about the vibration of strings, musical tuning systems, overtones and timbre, modes of oscillation through the concept of a guitar. Fourier analysis, transducers and passive electrical components and circuits will be introduced when discussing amps and audio components. Hands on projects introduce the fundamental concepts of electronics, including voltage, current, resistance and impedance, basic circuit analysis, ac circuits, impedance matching, and analog signals. The course then introduces basic digital signal processing concepts, where they will use Arduinos and Pure Data to learn about conversion of sound to digital format, frequency analysis, digital filtering and signal processing and musical sound synthesis. MUSC 141 is recommended as an introduction to the Audio and Music Engineering major but is accessible to students of music or other non-technical disciplines who wish to learn the fundamentals of music technology.

Location

Online Room 8 (ASE) (TR 12:30PM - 1:45PM)

Provides an introduction to the science and technology of audio. Students will learn about the vibration of strings, musical tuning systems, overtones and timbre, modes of oscillation through the concept of a guitar. Fourier analysis, transducers and passive electrical components and circuits will be introduced when discussing amps and audio components. Hands on projects introduce the fundamental concepts of electronics, including voltage, current, resistance and impedance, basic circuit analysis, ac circuits, impedance matching, and analog signals. The course then introduces basic digital signal processing concepts, where they will use Arduinos and Pure Data to learn about conversion of sound to digital format, frequency analysis, digital filtering and signal processing and musical sound synthesis.

This course is recommended as an introduction to the Audio and Music Engineering major but is accessible to students of music or other non-technical disciplines who wish to learn the fundamentals of music technology.

Location

Hopeman Hall Room 202 (M 2:00PM - 4:40PM)

Provides an introduction to the science and technology of audio. Students will learn about the vibration of strings, musical tuning systems, overtones and timbre, modes of oscillation through the concept of a guitar. Fourier analysis, transducers and passive electrical components and circuits will be introduced when discussing amps and audio components. Hands on projects introduce the fundamental concepts of electronics, including voltage, current, resistance and impedance, basic circuit analysis, ac circuits, impedance matching, and analog signals. The course then introduces basic digital signal processing concepts, where they will use Arduinos and Pure Data to learn about conversion of sound to digital format, frequency analysis, digital filtering and signal processing and musical sound synthesis.

This course is recommended as an introduction to the Audio and Music Engineering major but is accessible to students of music or other non-technical disciplines who wish to learn the fundamentals of music technology.

Location

Hopeman Hall Room 202 (W 2:00PM - 4:40PM)

From Nigerian movies to Zimbabwean dancehall songs, this course uses popular music, dance, film, street art, bus slogans, newspapers and other sources to document African interpretations of contemporary social, political, and cultural issues. We will let African musicians, writers, directors, and artists guide our investigation into the big questions of the class: Why is the gap between rich and poor in African societies increasing? What is happening to gender relations? What do African people think of their political leaders and how do they imagine political situations might improve? Student projects may include teaching a popular African dance style; performing a popular song or theatrical skit from Africa; organizing a film screening or mini-festival; writing a research paper; or producing a podcast on African popular arts.

Location

Dewey Room 1305 (TR 12:30PM - 1:45PM)

In Gospel Music in America, we will examine the historical development of gospel music, beginning with 19th century slave spirituals and ending with an examination of 21st century gospel music practices. Throughout this course, we will attempt to answer the following questions: what is gospel music how are the parameters of the genre defined? How has gospel music participated in constructions of black identity and spiritual formation? How has the sound and presentation of gospel music evolved i.e. instrumentation, vocal aesthetic, performance persona, and technique? Lectures and discussions will also highlight some of the perpetually controversial tensions that have come to define gospel music history and culture. Such tensions involve the commercialization of gospel music, the ambiguity of lyrical meaning, gospel musics flirtations with sensuality and sexuality, and debates about what constitutes authentic gospel music.

Location

Online Room 5 (ASE) (MW 10:25AM - 11:40AM)

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Location

Eastman School Of Music Room 320 (TR 2:35PM - 3:50PM)

The Women's Chorus is a choral ensemble of female students from across the university who perform a wide variety of music in concerts throughout the semester. Participants will have the opportunity to develop healthy vocal production and musicianship skills. To join, simply register for the class. Auditions will be arranged during the first week of classes.

Location

Wegmans Room 1400 (R 5:00PM - 8:30PM)

The Women's Chorus is a choral ensemble of female students from across the university who perform a wide variety of music in concerts throughout the semester. Participants will have the opportunity to develop healthy vocal production and musicianship skills. To join, simply register for the class. Auditions will be arranged during the first week of classes.

A small mixed ensemble of 16 to 20 voices that performs a wide variety of choral repertoire from the Renaissance to the present.

By audition only. Auditions are held each semester.

Location

Hutchison Hall Room 140 (TR 4:50PM - 6:05PM)

URSO (Symphony Orchestra) is a university-civic orchestra whose members are selected from both UR student body and greater Rochester community. Membership through auditions, occurs prior to the first rehearsal of each season. Other auditions may be held as needed throughout the season.

Location

Strong Auditorium Room 116 (T 7:30PM - 10:00PM)

URCO (Chamber Orchestra) Membership is limited and is granted by the music director through competitive auditions, which occur prior to the first scheduled rehearsal of each season. Auditions may be held as needed during the academic year.

Location

Strong Auditorium Room 116 (M 4:50PM - 6:30PM)

Strong Auditorium Room 116 (W 4:50PM - 7:00PM)

The chamber music program facilitates formation and coaching of serious advanced chamber ensembles. One academic credit may be earned by registering and successfully completing all requirements listed under course work. Admission by permission of the coordinator. Participation will not count toward fulfillment of the ensemble requirement.

Wind Symphony draws its membership primarily from the student body on River Campus and performs music of various styles, genres, and eras. Membership by audition. Coursework: One rehearsal per week; individual practice. At least four concerts per academic year. Attendance required at all rehearsals, dress rehearsals, and concerts, unless excused in advance by conductor.

Location

Strong Auditorium Room 116 (M 7:30PM - 10:00PM)

The Jazz Ensemble is open by audition to all U of R community, and performing a wide variety of music. Occasional guests artists and clinicians. (Fall and Spring) (1 credit)

Location

Strong Auditorium Room 116 (TR 4:50PM - 6:10PM)

Small group playing of selections from the jazz repertoire, with an emphasis on improvisation. Admission is by permission of instructor only. (1 credit)

Location

O'brien Hall Room 105 (U 4:30PM - 7:30PM)

One rehearsal per week. Two concerts per semester. In addition, there may be off-campus performances in local colleges, churches, and other venues in the greater-Rochester community. The Gospel Choir performs a varied repertoire of sacred music -- spirituals, hymns, traditional and contemporary Gospel, music of the praise-and-worship genre. (Fall and Spring) (1 credit)

Location

Wegmans Room 1400 (T 7:40PM - 8:55PM)

The Eastman Gamelan performs traditional ceremonial music and new-style music (keybar) from Bali and also new compositions for Gamelan. (Fall and Spring) (1 credit)

Location

Eastman Theatre Room B12A (S 3:00PM - 5:30PM)

A mixed ensemble of voices that performs a wide variety of choral repertoire for large chorus, including regular performances with orchestra. An informal-voicing is required for all potential members; students must demonstrate the ability to sing in tune and read music.

Prerequisite: Auditions are held each semester.

Location

Strong Auditorium Room 011 (W 4:40PM - 6:30PM)

The Eastman Mbira Ensemble provides a hands-on introduction to the ancient and sophisticated musical tradition of the Shona mbira of Zimbabwe. Visiting Zimbabwean guest artists will also offer students the opportunity to delve more deeply into traditional musical practices and their cultural and spiritual context. Songs are taught aurally so no musical experience or training is required. **Participation will not count toward fulfillment of the ensemble requirement.**

Location

(M 6:30PM - 8:00PM)

Ensemble dedicated to dynamic percussive traditions of Guinea, combining the iconic djembe hand drum with a trio of drums played with sticks, known as dunun, sangban, and kenkeni. The powerful, multi-part relationships established by this trio of drums provide a rhythmic foundation, enabling djembe players to develop technique in executing accompaniment and solo parts. Fana engages ensemble players with a wide repertory of music from various regions of Guinea, including the rhythms of the Susu, Malinke, and Baga language groups. Intro and Advanced sessions offered each semester.

Location

Strong Auditorium Room 011 (W 7:30PM - 9:00PM)

Brass Choir is a 15-20 member ensemble dedicated to performing quality brass music at a high level while fostering a spirit of community among brass players on the RC. Open to experienced trumpet, horn, trombone, euphonium, and tuba players.

Location

O'Brien Residence Hall Room 104 (R 6:15PM - 7:15PM)

A serious contemporary ensemble that performs works from the standard percussion ensemble repertoire, occasionally the less standard, and brand new compositions for this genre. Some of the composers whose repertoire we have performed in the past consist of Hollinden, Rouse, Beck, Cowell, Peck, Cage, and Andriessen. Prior experience in percussion, the ability to read music and an audition are required.

Location

Strong Auditorium Room 116 (U 12:00PM - 3:00PM)

The Rock Repertory Ensemble is devoted to performing accurate versions of songs from the rock music repertory, with selections ranging from the early 1950's to the present day. Open to guitarists, bassists, drummers, keyboard players, and singers, with consideration given to winds players depending on repertory for a given semester.

Audition required.

Location

Strong Auditorium Room 011 (T 4:00PM - 7:00PM)

This is an introductory guitar class that will teach guitar fundamentals and get students playing popular, rock, blues, classical, and simple jazz tunes by the end of the semester. This course is open to all guitar enthusiasts as well as music majors/minors seeking a 'methods class' approach to learning the instrument. Electric and acoustic guitars welcome. Contact Professor Bob Sneider bsneider@esm.rochester.edu with any questions. **GUITARS ARE NOT SUPPLIED*** TA led organized practice sessions TBA

Location

Dewey Room 1305 (R 6:30PM - 7:30PM)

Intro to Classical Guitar: Intro to Classical Guitar will introduce students to rudiments of classical guitar technique, including tuning, basic posture and position, chord formation, note reading, and introduction to repertoire. Basic ensemble techniques will be incorporated into class sessions.By the end of the semester, students will be able to:- Individually perform beginning classical guitar repertoire- Accompany songs with arpeggiated technique- Sight-read assigned music selections, using standard music notation**GUITARS ARE NOT SUPPLIED***

Location

Dewey Room 1305 (R 5:15PM - 6:15PM)

Intro to Classical Guitar: Intro to Classical Guitar will introduce students to rudiments of classical guitar technique, including tuning, basic posture and position, chord formation, note reading, and introduction to repertoire. Basic ensemble techniques will be incorporated into class sessions.By the end of the semester, students will be able to:- Individually perform beginning classical guitar repertoire- Accompany songs with arpeggiated technique- Sight-read assigned music selections, using standard music notation**GUITARS ARE NOT SUPPLIED***

Location

Dewey Room B320 (M 5:30PM - 6:30PM)

Sansifanyi is an ensemble that provides various performance opportunities both on and off-campus for intermediate and advanced students of African dance & drumming. Instructor Kerfala Bangoura trains ensemble members in a performance style that integrates dance, drumming, vocal song, and narrative elements. Dancers who enroll in Sansifanyi will learn choreographic techniques for West African dance and gain experience dancing as soloists. Dancers will also learn focus on rhythmic timing and on drumming while dancing. Drummers enrolled in Sansifanyi will learn extended percussion arrangements and techniques for accompanying choreography. They will also learn how to play the breaks required of lead drummers.

Prerequisites: Audition on First day of class OR for Drummers one of the following: MUR168A, MUR168B, MUR146. For Dancers of the following: DAN181&182, DAN 283, DAN 253, DAN 285. Email kerfala.bangoura@rochester.edu with questions.

Location

Spurrier Gymnasium Room 104 (R 6:45PM - 8:15PM)

Sansifanyi is an ensemble that provides various performance opportunities both on and off-campus for intermediate and advanced students of African dance & drumming. Instructor Kerfala Bangoura trains ensemble members in a performance style that integrates dance, drumming, vocal song, and narrative elements. Dancers who enroll in Sansifanyi will learn choreographic techniques for West African dance and gain experience dancing as soloists. Dancers will also learn focus on rhythmic timing and on drumming while dancing. Drummers enrolled in Sansifanyi will learn extended percussion arrangements and techniques for accompanying choreography. They will also learn how to play the breaks required of lead drummers. Prerequisites: One of the following: DAN181&182, DAN 283, DAN 253, DAN 285. For Drummers one of the following: MUR168A, MUR168B, MUR146 OR to audition, email kerfala.bangoura@gmail.com

Location

Spurrier Gymnasium Room 104 (R 8:00PM - 9:30PM)

This course covers the acoustical and psychoacoustic fundamentals of audio recording including the nature of sound, sound pressure level, frequency and pitch, hearing and sound perception, reflection, absorption and diffusion of sound, sound diffraction, room acoustics, reverberation, and studio design principles. The course also provides practical experience in audio recording including an introduction to recording studio equipment, microphones and microphone placement techniques, signal flow, amplification, analog and digital recording, analog to digital conversion, digital processing of sound, multi-track recording and an introduction to mixing and mastering. Each student is required to complete a substantive recording project at the end of the course. (AME 191)

Location

Gavett Hall Room 305 (TR 2:00PM - 3:15PM)

This course is a continuation of AME191. Emphasis is on the development of critical listening skills and proficiency in audio mixing and mastering. Fundamental topics covered include the human auditory system, theories of hearing and audio perception, perception of loudness and pitch, critical bands and auditory masking, beats and roughness, temporal and pitch acuity, binaural hearing. Listening skills development include hearing width? and depth? in audio, mixing techniques in various musical genres, recognition of various effects including reverb, delay, compression, phasing and distortion. Production skills development includes equalization and achieving spectral balance, the use of compression and dynamic range control, achieving depth and dimension in recordings, panning and auditory scene control.

Location

Gavett Hall Room 305 (TR 9:40AM - 10:55AM)

The course is intended to provide students a basic understanding of sound design, audio recording, and working with sound for picture. The emphasis is on demonstrations and hands-on experience to enable students to gain a practical knowledge of sound and music production using computers. Fundamental topics include synthesizers & samplers; recording and editing with Pro Tools; sound effect creation; field recording; foley & ADR; basic soundtrack composition; and working to picture. Many techniques are explored using hardware, software, and state of the art workstations throughout the course. Students will complete a major sound for picture project at the conclusion of the course. (AME 193)

Location

Computer Studies Room 616 (TR 3:25PM - 4:40PM)

Rudiments of jazz, including chord and scale spellings, chord scale relationships, jazz/pop chord symbol nomenclature, basic forms, chord substitutions, piano voicing; strong emphasis on ear training and vocalization and transcription from records of jazz solos.

Location

Hutchison Hall Room 140 (TR 6:15PM - 7:30PM)

Private carillon instruction, weekly 60-minute lessons.

By audition only. Permission of instructor required.

After 1492, Europeans and other peoples around the globe began to discover each other in new ways, and music played a vital role in their encounters. This course equipsstudents to develop a global perspective on music in the early modern era. Through case studies in Latin America, New England, China, and Africa, students will gain insight into the ways people use music as an agent of political and religious power in processes of cultural exchange and conflict. The course examines how missionaries and colonial leaders mixed musical cultures to build new social structures; and how colonial subjects responded creatively, in collaboration or resistance, to shape hybrid identities. We will study musical practices from both sides of theencounters, including Chinese and Native American musics and exported European practices like religious choral music and popular dances.Meets in the Robbins Library or hands-on engagement with rare books and manuscripts. No prior musical knowledge is required.

Location

(TR 9:40AM - 10:55AM)

Throughout much of Southern Africa, the word ngoma? means drum. It also refers to specific musical styles that combine drumming, dance, and song. Finally, there is often a ritual dimension to ngoma, which is used in ceremonies focused around individual and social healing. In this class, students will bring ngoma alive by learning to perform various Zimbabwean ngoma genres, with the option of specializing in either drumming or dance. Through video clips, audio recordings, photos, and articles, we will also learn to understand ngoma within a larger cultural framework.

Location

Online Room 14 (ASE) (F 10:00AM - 12:20PM)

Continuation of MUR 112. Focuses on analysis of large forms, such as sonata, rondo, and song forms. Includes advanced study of chromatic harmony and modulation to remote keys. Prerequisite: MUR 112.

Location

Lattimore Room 210 (MW 2:00PM - 3:15PM)

Continuation of MUR 112. Focuses on analysis of large forms, such as sonata, rondo, and song forms. Includes advanced study of chromatic harmony and modulation to remote keys. Prerequisite: MUR 112.

Location

Lattimore Room 210 (MW 10:25AM - 11:40AM)

Continuation of MUR 112. Focuses on analysis of large forms, such as sonata, rondo, and song forms. Includes advanced study of chromatic harmony and modulation to remote keys. Prerequisite: MUR 112.

Location

Dewey Room B315 (MW 2:00PM - 3:15PM)

Survey of Western classical music through 1600, including the investigation of style, genre, transmission, contemporary theory, patronage, cultural context and meaning, etc. Workshops deal with topics such as transcription and performance practice. Prerequisite: Completion of or current enrollment in MUR 111. For sophomores and above.

Location

Dewey Room 1305 (MW 2:00PM - 3:30PM)

Survey of Western classical music through 1600, including the investigation of style, genre, transmission, contemporary theory, patronage, cultural context and meaning, etc. Workshops deal with topics such as transcription and performance practice. Prerequisite: Completion of or current enrollment in MUR 111. For sophomores and above.

Location

Dewey Room B315 (F 3:00PM - 3:50PM)

Survey of Western classical music through 1600, including the investigation of style, genre, transmission, contemporary theory, patronage, cultural context and meaning, etc. Workshops deal with topics such as transcription and performance practice. Prerequisite: Completion of or current enrollment in MUR 111. For sophomores and above.

Location

Dewey Room B315 (F 2:00PM - 2:50PM)

The history of western art music from approximately 1800-present, with an emphasis on analysis of the masterpieces of tonal music and their relationship to society and other arts. Lectures with extensive listening, reading, and analysis.

Location

(TR 2:00PM - 3:30PM)

The history of western art music from approximately 1800-present, with an emphasis on analysis of the masterpieces of tonal music and their relationship to society and other arts. Lectures with extensive listening, reading, and analysis.

Location

Dewey Room 1305 (F 2:00PM - 2:50PM)

In this course, students will develop skills for designing audio/music applications and creating computer music in C and Max. We will begin with the history of computer music, a survey of audio programming languages, and a review of C. Libsndfile, a C library for reading and writing sound files, will be used to explore topics in sound synthesis, analysis, and digital signal processing. Students will use PortAudio, a C library for realtime audio input/output, to design DSP applications. Max is a visual programming language for interactive audio/music and multimedia. Students are required to watch pre-recorded lectures to learn Max and attend recitations for reviews. They will also practice their programming techniques through a series of programming assignments, a midterm drum machine project in Max, and a final research/design project. prerequisites: All students, including technology and music majors, are welcome.

This course provides a multifaceted account of the evolution of sound technologies, starting with Edison's invention of the phonograph in 1877 through the development of microphones, the radio, magnetic tape recording, vinyl records, multi-track recording, stereo, digital audio, surround sound, online music streaming, and 3D audio. We will discuss how technology has shaped the musical experience, and, conversely, how various genres of music have influenced the development of audio technologies. We will also explore the secrets of several legendary recordings, including those of Enrico Caruso, Bessie Smith, Les Paul, Louis Armstrong, the Beach Boys, the Beatles, ABBA, Michael Jackson, and Justin Bieber. A special topic will focus on spatial audio for VR/AR, object-based audio, binaural recording, and Ambisonics.

Location

Computer Studies Room 616 (MW 10:25AM - 11:40AM)

Approaches to Music Ethnography: Ethnography - the hands-on, in-person study of culture(s) – is a methodology that promises insight into the complexity of (musical) knowing and being. This course asks: What kinds of knowledge does ethnography afford about musical practice and musical cultures? What is the relationship between research methods and the kinds of musical knowledge we might produce? What risks and challenges does ethnography pose, for both the ethnographer and her informants? To address these core questions, we will read texts on ethnographic method and theory alongside exemplary ethnographic books that highlight the relationship between research and writing. At the same time, students will carry out weekly hands-on ethnographic assignments, culminating in a final research project on an aspect of musical life in Rochester.

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Registration for Independent Study courses needs to be completed thru the instructions for online independent study registration.

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Throughout much of Southern Africa, the word ngoma means drum. It also refers to specific musical styles that combine drumming, dance and song. Finally, there is often a ritual dimension to ngoma, which is used in ceremonies focused around individual and social healing. In this class, students will bring ngoma alive by learning to perform various Zimbabwean ngoma genres, with the option of specializing in either drumming or dance. Through video clips, audio recordings, photos and articles, we will also learn to understand ngoma within a larger cultural framework.

Location

Online Room 14 (ASE) (F 10:00AM - 12:20PM)

Ensemble dedicated to dynamic percussive traditions of Guinea, combining the iconic djembe hand drum with a trio of drums played with sticks, known as dunun, sangban, and kenkeni. The powerful, multi-part relationships established by this trio of drums provide a rhythmic foundation, enabling djembe players to develop technique in executing accompaniment and solo parts. Fana engages ensemble players with a wide repertory of music from various regions of Guinea, including the rhythms of the Susu, Malinke, and Baga language groups. Intro and Advanced sessions offered each semester.

Location

Strong Auditorium Room 011 (W 7:30PM - 9:00PM)

Sansifanyi is an ensemble that provides various performance opportunities both on and off-campus for intermediate and advanced students of African dance & drumming. Instructor Kerfala Bangoura trains ensemble members in a performance style that integrates dance, drumming, vocal song, and narrative elements. Dancers who enroll in Sansifanyi will learn choreographic techniques for West African dance and gain experience dancing as soloists. Dancers will also learn focus on rhythmic timing and on drumming while dancing. Drummers enrolled in Sansifanyi will learn extended percussion arrangements and techniques for accompanying choreography. They will also learn how to play the breaks required of lead drummers. 

Prerequisites: Audition on First day of class OR for Drummers one of the following: MUR168A, MUR168B, MUR146. For Dancers of the following: DAN181&182, DAN 283, DAN 253, DAN 285. Email kerfala.bangoura@gmail.com with questions.

Location

Spurrier Gymnasium Room 104 (R 6:45PM - 8:15PM)

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Location

(R 8:00PM - 9:30PM)