Undergraduate Program

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 MUSC 110 may NOT enroll in MUSC 101, credit will NOT be given for both.

Location

(MW 9:00AM - 10:15AM)

Private carillon instruction, weekly 30-minute lessons or the equivalent. Assignments, public concerts (3+), and open tower workshop sessions are scheduled in addition to 30 min weekly lessons. 

Prerequisites for MUSC 104 are:
- Fluent sight reading of both treble and bass clef.
- No fear of heights.
- Climb or descend 12 flights of steps, as necessary.
- Instruction in keyboard recommended, several years (piano, organ, advanced marimba).
- By audition only, contact instructor a week prior to first day of class.

Permission of instructor required.

Location

( 7:00PM - 7:00PM)

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 MUSC 113.

Location

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

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 MUSC 113.

Location

(TR 3:25PM - 4:15PM)

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 MUSC 101 may NOT register for MUSC 110, credit will NOT be given for both.

Location

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

Location

(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: MUSC 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

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

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

Location

(MW 3:25PM - 4:40PM)

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 MUSC 109 but at a more advanced level. (1 credit)

Location

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

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 MUSC 109 but at a more advanced level. (1 credit)

Location

(MW 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 MUSC 109 but at a more advanced level. (1 credit)

Location

(MW 12:00PM - 12:50PM)

Continuation of MUSC 113 with an increased emphasis on chrom- aticism, especially simple modulation and mode mixture. The course puts emphasis on ensemble singing and aural analysis.

Location

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

Continuation of MUSC 114 with greater emphasis on chromaticism and aural analysis.

Location

(TR 12:00PM - 12:50PM)

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 and successful completion of MUSC 111 and MUSC 112. (2 credits)

Location

(MW 8:00AM - 8:50AM)

Continuation of MUSC 116. Students completing this course fulfill the piano proficiency for the music major. Prerequisite: MUSC 116 or permission of instructor.

Location

(MW 11:50AM - 12:40PM)

In this introductory course, students will engage with a variety of musical genres, instruments, and performance techniques from different areas of the world. Through reading assignments, listening examples, film clips, and participatory activities, students will study how people in difference places engage with music as a sonic and social practice. Students will also learn how to write about music as a form of social practice through short reading responses and structured essay assignments.

Location

(TR 2:00PM - 3:15PM)

Location

( 7:00PM - 7:00PM)

This course will focus on the development of African American music from the 19th century through the latter part of the 20thcentury. 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 19thcentury spiritual, the blues, gospel, jazz, early rock and roll, soul music, funk, rhythm and blues, and hip hop, among others.

Location

(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.

Location

(T 5:00PM - 7:00PM)

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: MUSC 112 or permission of instructor.

Location

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

This class explores the many genres of Western classical music, with examples drawn from the symphonic repertoire, chamber music, solo keyboard works, opera, choral music, and art song.  Music from the Baroque to the present will be included.  The emphasis will be on music being performed in Rochester during the semester.

Location

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

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: MUSC 112 required. MUSC 211 strongly recommended. May take concurrently with MUSC 211.

Location

(MW 3:25PM - 4:40PM)

Drake, Sexxy Redd, Kodak Black and several other contemporary rap artists operate within long traditions of hip hop that make religious claims.  This course provides an overview of histories and contexts of hip hop genres (trap, conscious, dance/party, mumble, drill…) in correlation with contexts of Black religious groups (Black Israelites, Moorish Science Temple of America, Five Percenters, Christianity, Nation of Islam, Yoruba, Atheism…).  This course will be interactive, consisting of listening parties, (guests) lectures, DJ presentations, discussions, and a field trip to a Black religious and/or hip hop experience. By the end of the class, students will have a playlist that professes a religious claim.

Location

(MW 11:50AM - 1:05PM)

Location

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

Location

(W 4:50PM - 7:30PM)

Location

(W 2:00PM - 4:40PM)

Location

(F 9:00AM - 12:30PM)

What happens when we mix music and words? This course will study the complex and evolving relationship between music and text. We will study songs from different styles and time periodsart songs, early music, rock, and jazz. We will learn about the rhythm and meter of poetry and how it relates to the basic elements of music. And we will consider how words and music combine in genres such as opera, musical theater, and modern multimedia. No prior training in music or poetry is required.

Location

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

This course explores the artistic legacies of Bob Dylan and Leonard Cohen, two of the most influential singer-songwriters of the 20th century. From their hometowns in Hibbing, Minnesota, and Montreal, Quebec to the cultural haven of Greenwich Village in NYC; from a Zen monastery in California to the vibrant streets of Mumbai, India—this course will embark on an immersive journey through Dylan’s and Cohen’s spiritual quests that illuminate intersections between art, literature, religion, and human experience. Through a close analysis of their lyrics, music, and cultural impact, students will gain a deeper understanding of how these two artists gave voice to the hopes, fears, and restlessness of a generation grappling with rapid political and social upheavals they witnessed, from the civil rights and anti-war movements to the sexual revolution. The course will delve into the themes present in Dylan’s and Cohen’s works, such as the relationship between sexuality and the divine, the haunting questions surrounding evil and the Holocaust, the search for social justice and redemption, an exploration of death and darkness, and recognition of life’s dualities. Exclusive access to archival audio-visual materials will enhance each class session while guest speakers who had personal connections with Dylan and Cohen will provide unique perspectives that enrich students’ learning experience.

Location

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

In Black Gospel Music, 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 music's flirtations with sensuality and sexuality, and debates about what constitutes authentic gospel music.

Location

(MW 2:00PM - 3:15PM)

Participants in the Treble Chorus form a vocal ensemble of high-voiced singers from across the university community. They explore history and cultures by studying diverse repertoire, sharing their understandings in concert performances scheduled throughout the semester.  They also have the opportunity to cultivate healthy vocal production and musicianship skills. 

To join, simply register for the class. The instructor will arrange voice part hearings during the first week of classes. 

Location

(R 6:30PM - 8:30PM)

Chamber Singers: Description: 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

(MW 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

(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

(M 4:50PM - 6:00PM)

(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.

Location

( 7:00PM - 7:00PM)

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

(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

(TR 4:50PM - 6:05PM)

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

Location

(M 4:50PM - 7:00PM)

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

(T 7:00PM - 8:15PM)

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

(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 informalvoicing 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

(M 6:15PM - 8:05PM)

Location

(T 3:35PM - 5:25PM)

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

(MW 7:30PM - 8:45PM)

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

(R 6:15PM - 7:15PM)

This course investigates the relationship between humans, machines, and urban environments by examining how the industrial history of the Rust Belt, particularly in Detroit, has shaped music and sound culture. Through practice-based research, students will conduct field recordings of their local urban areas and transform these sounds into musical compositions using non-screen-based hardware devices.  Not Open to Seniors.  Studio Art lab supply fee applied. ​

Location

(MW 10:25AM - 1:05PM)

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. TA led organized practice sessions TBA.

**GUITARS ARE NOT SUPPLIED***

Location

(R 6:30PM - 7:30PM)

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

(R 5:15PM - 6:15PM)

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

( 7:00PM - 7:00PM)

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: MUSC168A, MUSC168B, MUSC146. For Dancers of the following: DAN181&182, DAN 283, DAN 253, DAN 285. Email kerfala.bangoura@rochester.edu with questions.

Location

(TR 6:45PM - 8:15PM)

This course covers the fundamentals in becoming an audio engineer. Topics covered include: Acoustics, Psychoacoustics, Microphones, Signal Processing, Tape Recording, Digital Audio Theory, Signal Flow, Studio Etiquette, Digital Audio Workstations, Music Business, Recording Audio, and Mixing Audio. You do not need any previous experience in recording, however some familiarity with music and how it is created is needed.
There are four group recording projects that make up the bulk of the course, each with their own guidelines and challenges. This course requires considerable time to be spent on projects outside of the lecture and lab times. The labs are required to take this course.
First-year non-AME Major students are ineligible to take this course.
Prerequisites: None
INSTRUCTOR PERMISSION ONLY.

Location

(TR 2:00PM - 3:15PM)

This course covers the fundamentals in becoming an audio engineer. Topics covered include: Acoustics, Psychoacoustics, Microphones, Signal Processing, Tape Recording, Digital Audio Theory, Signal Flow, Studio Etiquette, Digital Audio Workstations, Music Business, Recording Audio, and Mixing Audio. You do not need any previous experience in recording, however some familiarity with music and how it is created is needed.
There are four group recording projects that make up the bulk of the course, each with their own guidelines and challenges. This course requires considerable time to be spent on projects outside of the lecture and lab times. The labs are required to take this course.
First-year non-AME Major students are ineligible to take this course.
Prerequisites: None
INSTRUCTOR PERMISSION ONLY.

Location

(T 4:50PM - 6:05PM)

This course covers the fundamentals in becoming an audio engineer. Topics covered include: Acoustics, Psychoacoustics, Microphones, Signal Processing, Tape Recording, Digital Audio Theory, Signal Flow, Studio Etiquette, Digital Audio Workstations, Music Business, Recording Audio, and Mixing Audio. You do not need any previous experience in recording, however some familiarity with music and how it is created is needed.
There are four group recording projects that make up the bulk of the course, each with their own guidelines and challenges. This course requires considerable time to be spent on projects outside of the lecture and lab times. The labs are required to take this course.
First-year non-AME Major students are ineligible to take this course.
Prerequisites: None
INSTRUCTOR PERMISSION ONLY.

Location

(T 6:15PM - 7:30PM)

This course covers the fundamentals in becoming an audio engineer. Topics covered include: Acoustics, Psychoacoustics, Microphones, Signal Processing, Tape Recording, Digital Audio Theory, Signal Flow, Studio Etiquette, Digital Audio Workstations, Music Business, Recording Audio, and Mixing Audio. You do not need any previous experience in recording, however some familiarity with music and how it is created is needed.
There are four group recording projects that make up the bulk of the course, each with their own guidelines and challenges. This course requires considerable time to be spent on projects outside of the lecture and lab times. The labs are required to take this course.
First-year non-AME Major students are ineligible to take this course.
Prerequisites: None
INSTRUCTOR PERMISSION ONLY.

Location

(T 7:40PM - 8:55PM)

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

(W 3:25PM - 4:40PM)

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

(MW 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

(M 3:25PM - 4:40PM)

The course is intended to provide students a basic understanding of SOUND DESIGN 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.

Topics include synthesizers & samplers; recording and editing with Pro Tools and Logic Pro; sound effect creation; foley & automatic dialog replacement; basic soundtrack composition; and working to picture. Many techniques are explored, employing software and hardware-based sound creation tools throughout the course. Students will complete a major sound design assignment for their final project.

Location

(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

(MW 6:15PM - 7:30PM)

Private carillon instruction, weekly 60-minute lessons.

Prerequisites for MUSC 204 are:
- One semester of MUSC 104 completed or prior experience performing on a carillon.
- By audition only, contact instructor a week prior to first day of class.

Permission of instructor required.

Location

( 7:00PM - 7:00PM)

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

(F 10:00AM - 12:00PM)

Continuation of MUSC 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: MUSC 112.

Location

(MW 2:00PM - 3:15PM)

Continuation of MUSC 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: MUSC 112.

Location

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

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 MUSC 111. For sophomores and above.

Location

(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 MUSC 111. For sophomores and above.

Location

(F 3:00PM - 3:50PM)

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 - 3:15PM)

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

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

What is the sound of Black womanhood? How do we hear and listen to Black women? Where do we hear sonic Black womanhood? When, where, and how does sound become (un)gendered and/or queered? Are we really listening? In this course, we will explore the diverse and multivocal sonic cultures of Black women, femmes, and gender-oppressed people. We learn from the vocality of early twentieth century blues women singers, locate the often erased yet long history of Black women in country music, wrestle with the complex politics of Black women’s sexuality in popular music (in genres such as disco, hip hop, and pop), and listen to the screams, the noise, the break, and the grunt as emitted by Black women, femmes, and gender-oppressed voices. We expand the definition of “sound” and contemplate its emergence across critical and cultural texts including albums, films, television, theatre, performance, literature, and more. Working with methods in sound studies, performance studies, and music/musicology, this course will “listen in detail,” as performance scholar Alexandra T. Vasquez offers, to the multiple ways that Black women create sound.

Location

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

Pre-Requisite: Students registering for this course must either take the precursor course “Exploring Technological Applications in Music Production” OR have some prior knowledge of music production software.

This course will provide learners hands-on experiences using technical tools in a multi-media performance and recording project. The curricular methods will assist students in developing constructive mindsets and new skills in technology and team building through two major components. The first component of the course is to assess the challenges and potential of current tools available for music production and performance. This will occur through the assessment of technology-infused music projects and performances and reflections on the usability, feasibility, and creative potential of software. The second component of the class will be a project-based team collaboration to design and create new digital content collaboratively. The student-driven project will encourage creativity by incorporating and disseminating technology in a live performance. The final project will be a live, multi-media performance of the group project.

Location

(F 11:35AM - 1:25PM)

No description

Location

( 7:00PM - 7:00PM)

Registration for Independent Study courses needs to be completed through the Independent Study Form​

Location

( 7:00PM - 7:00PM)

Registration for Independent Study courses needs to be completed thru the instructions for online Internship Registration Form registration.

Location

( 7:00PM - 7:00PM)

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

(F 10:00AM - 12:00PM)

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

(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

(TR 6:35PM - 7:25PM)