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.

BUILDING: STRNG | ROOM: LOWER

PREREQUISITES: No prerequisites.

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.

BUILDING: STRNG | ROOM: LOWER

PREREQUISITES: No prerequisites.

Private carillon instruction, weekly 30-minute lessons or the equivalent. By audition only. Permission of instructor required. (2 credits)

BUILDING: | ROOM:

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.

BUILDING: DEWEY | ROOM: 1305

PREREQUISITES: No prerequisites.

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.

BUILDING: DEWEY | ROOM: 1305

PREREQUISITES: No prerequisites.

Basic concepts addressing students with previous experience in an instrument or voice and little music theory. Scales, keys, intervals, chords, basic part-writing, and other fundamental aspects of musical structure. Some ear training and aural skills.

BUILDING: STRNG | ROOM: LOWER

PREREQUISITES: Prerequisite: Ability to read music, preferably in both treble and bass clefs. Students completing MUR 101 should NOT register for MUR 110.

Continuation of MUR 111. This course continues with chorale and keyboard-style harmony exercises, but also introduces chromaticism, modulation, and analysis of form and phrase structure. Prerequisite: MUR 111.

BUILDING: DEWEY | ROOM: 1305

PREREQUISITES: MUR 111.

Continuation of MUR 111. This course continues with chorale and keyboard-style harmony exercises, but also introduces chromaticism, modulation, and analysis of form and phrase structure. Prerequisite: MUR 111.

BUILDING: DEWEY | ROOM: B315

PREREQUISITES: MUR 111.

Continuation of MUR 111. This course continues with chorale and keyboard-style harmony exercises, but also introduces chromaticism, modulation, and analysis of form and phrase structure. Prerequisite: MUR 111.

BUILDING: DEWEY | ROOM: 1305

PREREQUISITES: MUR 111.

Continuation of MUR 111. This course continues with chorale and keyboard-style harmony exercises, but also introduces chromaticism, modulation, and analysis of form and phrase structure. Prerequisite: MUR 111.

BUILDING: DEWEY | ROOM: B315

PREREQUISITES: MUR 111.

Continuation of MUR 111. This course continues with chorale and keyboard-style harmony exercises, but also introduces chromaticism, modulation, and analysis of form and phrase structure. Prerequisite: MUR 111.

BUILDING: LATT | ROOM: 210

PREREQUISITES: MUR 111.

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)

BUILDING: DEWEY | ROOM: B315

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)

BUILDING: DEWEY | ROOM: B315

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)

BUILDING: DEWEY | ROOM: B315

PREREQUISITES: MUR 113 or permission of theory coordinator.

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)

BUILDING: DEWEY | ROOM: B315

PREREQUISITES: MUR 113 or permission of theory coordinator.

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

BUILDING: DEWEY | ROOM: B315

PREREQUISITES: MUR 114.

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)

BUILDING: DEWEY | ROOM: B349

PREREQUISITES: No prior keyboard training required. Permission of instructor required.

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)

BUILDING: DEWEY | ROOM: B349

PREREQUISITES: MUR 116 or permission of instructor.

1MUR 119 (I-II-2) BEG PIANO:RC NON-MUSIC MAJOR MUR 119: Continues the syllabus begun in MUR 118; only students who have completed MUR 118 may enroll in MUR 119. Please copy and paste the following link into a browser: http://www.esm.rochester.edu/classpiano/courses-for-river-campus/

BUILDING: ESM | ROOM: 443

1MUR 119 (I-II-2) BEG PIANO:RC NON-MUSIC MAJOR MUR 119: Continues the syllabus begun in MUR 118; only students who have completed MUR 118 may enroll in MUR 119. Please copy and paste the following link into a browser: http://www.esm.rochester.edu/classpiano/courses-for-river-campus/

BUILDING: ESM | ROOM: 443

1MUR 119 (I-II-2) BEG PIANO:RC NON-MUSIC MAJOR MUR 119: Continues the syllabus begun in MUR 118; only students who have completed MUR 118 may enroll in MUR 119. Please copy and paste the following link into a browser: http://www.esm.rochester.edu/classpiano/courses-for-river-campus/

BUILDING: ET | ROOM: 411

1MUR 119 (I-II-2) BEG PIANO:RC NON-MUSIC MAJOR MUR 119: Continues the syllabus begun in MUR 118; only students who have completed MUR 118 may enroll in MUR 119. Please copy and paste the following link into a browser: http://www.esm.rochester.edu/classpiano/courses-for-river-campus/

BUILDING: ET | ROOM: 411

Will include a historical overview of music stars and the publicity campaigns used to promote their careers. From Frank Sinatra-1940s; through Elvis Presley;-1950s; through The Beatles & The Rolling Stones in the 1960s, up through self-indulgent 70s with acts like Elton John, Kiss, and Prince, up to today's high profile campaigns for Justin Bieber, Rhianna and Lady Gaga. Students will be versed in the art of writing an artist bio, press releases, and in the various types of PR events staged to gain publicity, Starmakers will also look at the various types of publicity such as career launching; crisis management(scandals; sudden death of celebrity)and tour press. We will also look at how social media has become a game changer for music publicity.

BUILDING: DEWEY | ROOM: B315

Intensive practical experience with scene-and-song work in the repertory of popular American musical theater. Weekly coaching and rehearsal, with emphasis on characterization, acting and singing skills, and idiomatic performance practice. A few reading assignments, but emphasis is on performance preparation.  Permission of instructor (by audition).

BUILDING: STRNG | ROOM: LOWER

PREREQUISITES: One year of voice instruction; permission of instructor (by audition).

Intensive practical experience with scene-and-song work in the repertory of popular American musical theater. Weekly coaching and rehearsal, with emphasis on characterization, acting and singing skills, and idiomatic performance practice. A few reading assignments, but emphasis is on performance preparation.  Permission of instructor (by audition).

BUILDING: STRNG | ROOM: LOWER

PREREQUISITES: One year of voice instruction; permission of instructor (by audition).

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.

BUILDING: LATT | ROOM: 210

PREREQUISITES: MUR 112 or permission of instructor

This seminar will be organized around a broad survey of the literature in sound studies. We will also read and audition the work of sound artists and practitioners who have inquired into the nature of sound and sense through a variety of enactments. Students will keep media journals–including recordings, short listening exercises, writings and sound productions–through which they can explore and reflect upon their everyday sound experiences throughout the semester. Part scholarly seminar, part practice-based research, the course encourages a self-reflexive and performative inquiry into questions regarding the relationship of sound and sense. Some questions to be considered include: How has sound been historically understood and constructed in relation to the senses? How does the naming and categorizing of the senses structure knowledge and ways of knowing? How are hearing and listening related? How do sonic and acoustic metaphors structure consciousness? How do concepts such as “secondary orality”...

BUILDING: MOREY | ROOM: 524

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.

BUILDING: ESM | ROOM: 120

PREREQUISITES:

The Men's Glee Club continues the century-old tradition of singing at the UR. Students, faculty, staff and community members performs a wide repertoire of music. The men's and women's glee clubs regularly combine with various instrumental groups to perform large oratorio style works. Auditions will be held during the first class.

BUILDING: HUTCH | ROOM: 140

PREREQUISITES: Auditions will be held during the first class.

Chamber Singers: A mixed ensemble of 35-45 members that performs a wide variety of choral repertoire from the Renaissance to the present. An informal voicing is required for all potential members; students must demonstrate the ability to sing in tune and read music.

BUILDING: STRNG | ROOM: LOWER

PREREQUISITES: Auditions are held every semester.

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.

BUILDING: STRNG | ROOM: UPPER

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.

BUILDING: STRNG | ROOM: UPPER

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.

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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.

BUILDING: STRNG | ROOM: UPPER

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)

BUILDING: OBRN | ROOM: DANCE

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

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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)

BUILDING: HUTCH | ROOM: 140

Led by Master Drummer Fana Bangoura, the West African Drumming Ensemble is dedicated to the dynamic percussive traditions of Guinea. The ensemble combines 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 for the ensemble, enabling djembe players to develop technique in executing both accompaniment and solo parts. Drawing upon his experience as a soloist with the internationally acclaimed groups Les Percussions de Guinée and Les Ballets Africains, 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.

BUILDING: ET | ROOM: 12

This course offers a unique opportunity for students to engage critically with broadcasting and the supporting areas of radio and television industries. Students will participate in theoretical and practical applications in selected area of focus at Rochester’s public broadcasting organization, WXXI. These areas include production for news, 1370 Connections, WRUR, Second Opinion, Homework Hotline, music, television, and audio engineering and admin support including accounting, fundraising, web development, social media, and others. Weekly class meetings cover the basics of broadcasting including history, regulations, and formats of over-the air communications, along with an overview of changes that digital media has brought to traditional broadcasting. This course requires students spend 8 hours p/week at the WXXI studios and offices in Rochester. These times are to be arranged by the student, course instructor and WXXI Exec VP Susan Rogers, and the WXXI site supervisor. Email S. Rogers srogers@wxxi.org.

BUILDING: DEWEY | ROOM: 1305

6ENS 216 (I, II-1) Mbira Ensemble 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. May be repeated for credit

BUILDING: ET | ROOM: 12

6ENS 216 (I, II-1) Mbira Ensemble 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. May be repeated for credit

BUILDING: | ROOM:

Led by Master Drummer Fana Bangoura, the West African Drumming Ensemble is dedicated to the dynamic percussive traditions of Guinea. The ensemble combines 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 for the ensemble, enabling djembe players to develop technique in executing both accompaniment and solo parts. Drawing upon his experience as a soloist with the internationally acclaimed groups Les Percussions de Guinée and Les Ballets Africains, 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.

BUILDING: STRNG | ROOM: LOWER

In this course, students will work on expanding their repertory of rhythms from Guinea, West Africa, and on improving their playing technique on the djembe, dunun, sangban, and kenkeni. In particular, we will concentrate on learning extended solo sequences for the djembe, and more advanced arrangements played on the dunun, sangban, and kenkeni. Students will also work on developing skills specific to performance, adding choreographed onstage movement to complement their drumming.

BUILDING: STRNG | ROOM: LOWER

PREREQUISITES: At least one semester of previous enrollment in the Intro West African Percussion Ensemble ***OR PRIOR MUSIC EXPERIENCE***.

Brass Choir is a 35-45 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.

BUILDING: OBRN | ROOM: DANCE

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.

BUILDING: STRNG | ROOM: UPPER

The Rock Repertory Ensemble is devoted to performing accurate versions of songs from the rock music repertory, with selections ranging from the early 1950s 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.

BUILDING: STRNG | ROOM: LOWER

6GTC 181 (I,II-2)Beyond the Basics - Guitar: Beyond the Basics: Guitar is designed to teach students essential musical and technical skills in order to function independently on the guitar. Students will develop chord accompaniment skills, learn to understand guitar tablature notation and fingerboard graphs, and improve music reading skills. By the end of the semester students will be able to: - Strum chords to a variety of tunes - Play simple pieces in folk and classical styles - Play simple pop/rock and blues tunes

BUILDING: DEWEY | ROOM: B320

PREREQUISITES: **GUITARS NOT SUPPLIED**

6GTC 183 (I,II-2) 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

BUILDING: DEWEY | ROOM: B320

PREREQUISITES: **GUITARS NOT SUPPLIED**

6GTC 183 (I,II-2) 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

BUILDING: DEWEY | ROOM: B320

PREREQUISITES: **GUITARS NOT SUPPLIED**

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.

BUILDING: CSB | ROOM: 412

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BUILDING: CSB | ROOM: 412

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BUILDING: CSB | ROOM: 412

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.

BUILDING: RETT | ROOM: 303

PREREQUISITES: AME 191and Instructors permission

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 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; 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 project at the conclusion of the course.

BUILDING: CSB | ROOM: 423

PREREQUISITES: Instructor permission only

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 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; 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 project at the conclusion of the course.

BUILDING: CSB | ROOM: 423

PREREQUISITES: Instructor permission only

This course is intended to provide students with a basic understanding of the process and the skills for creating music for picture. The course emphasizes hands-on experience where students gain practical skills in scoring to picture using computers and it features guest lectures by industry leading professionals, who will share their insights on creating music for TV Shows, Advertising, Movies, Gaming, Animation, and Industrial Work. Topics also include soft synthesizers, samplers and virtual instruments; recording and editing with Pro Tools and Logic; and sound design on audio workstations. Students will complete a number of projects throughout the course.

BUILDING: CSB | ROOM: 423

PREREQUISITES: Strong musical ability, basic piano keyboard proficiency, AME 193 or familiarity with either Pro Tools, Logic Pro, or Ableton are highly recommended for this course. Instructor’s permission required.

Continuation of MUR 201.

BUILDING: DEWEY | ROOM: B315

PREREQUISITES: MUR 201 or permission of the instructor.

Private carillon instruction, weekly 60-minute lessons. By audition only. Permission of instructor required. (4 credits)

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Continuation of MUR 211. Explores the theoretical and aesthetic principles of twentieth-century music, especially in relation to earlier compositional procedures. Introduces basic post-tonal theory, including set-class analysis, transformational theory, and serial techniques. Prerequisite: MUR 211.

BUILDING: DEWEY | ROOM: 1305

PREREQUISITES: MUR 211.

This course equips students to understand how and why people use singing, playing, and dancing to connect human society to supernatural sources of power. The course is not a comprehensive survey of either music or religion, but instead focuses on case studies that reveal how people in diverse religious traditions across the globe and through history have incorporated music into their beliefs and ritual practices, or how in many cases they have struggled against the dangerous powers of music. We will pay special attention to music's role in inter-religious encounters, such as in colonial and missionary contexts. Musical practices studied include chanting, devotional song, South Indian and European Classical music (such as Bach and Messiaen), and contemporary evangelical worship.

BUILDING: DEWEY | ROOM: 1305

Survey of Western classical music from ca. 1600 to the mid-eighteenth century, with emphasis on the stylistic, generic, and performance innovations of the period; opera receives special attention. Workshops investigate specific problems posed by notation, performance, ethics, and so on.

BUILDING: DEWEY | ROOM: 1305

PREREQUISITES: MUR 221, completion or current enrollment in MUR 112.

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BUILDING: DEWEY | ROOM: 1305

Survey of Western classical music from ca. 1600 to the mid-eighteenth century, with emphasis on the stylistic, generic, and performance innovations of the period; opera receives special attention. Workshops investigate specific problems posed by notation, performance, ethics, and so on.

BUILDING: DEWEY | ROOM: 1305

PREREQUISITES: MUR 221, completion or current enrollment in MUR 112.

History of western art music from approximately 1850 through the present, with emphasis on the changing meaning of "New Music" and its role in society. Analysis of post-Wagnerian tonal music and non-tonal alternatives. Lectures, with extensive listening and reading, as well as analytical assignments.

BUILDING: DEWEY | ROOM: 1305

PREREQUISITES: Prerequisite: MUR 223, MUR 212.

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BUILDING: DEWEY | ROOM: B315

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BUILDING: DEWEY | ROOM: B315

Continuation of MUR 133.

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PREREQUISITES: MUR 133 and permission of the instructor.

Addressing the devastating effects of HIV/AIDS in the United States, United Kingdom, Tanzania, Zimbabwe, Uganda, Haiti, and elsewhere, this uniquely interdisciplinary course will incorporate insights from the fields of public health, medical anthropology, and ethnomusicology. Studying the HIV/AIDS epidemic through the lens of musical expression, we will ask how individuals and communities affected by HIV/AIDS have mobilized musical sound in response to the disease. Topics addressed within the class will include musical representations of HIV/AIDS within queer communities; the use of music in public health campaigns to raise awareness about the disease; and the mobilization of musical performance within grassroots support groups for individuals affected by HIV/AIDS.

BUILDING: LATT | ROOM: 540

This course equips students to understand how and why people use singing, playing, and dancing to connect human society to supernatural sources of power. The course is not a comprehensive survey of either music or religion, but instead focuses on case studies that reveal how people in diverse religious traditions across the globe and through history have incorporated music into their beliefs and ritual practices, or how in many cases they have struggled against the dangerous powers of music. We will pay special attention to music's role in inter-religious encounters, such as in colonial and missionary contexts. Musical practices studied include chanting, devotional song, South Indian and European Classical music (such as Bach and Messiaen), and contemporary evangelical worship.

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Addressing the devastating effects of HIV/AIDS in the United States, United Kingdom, Tanzania, Zimbabwe, Uganda, Haiti, and elsewhere, this uniquely interdisciplinary course will incorporate insights from the fields of public health, medical anthropology, and ethnomusicology. Studying the HIV/AIDS epidemic through the lens of musical expression, we will ask how individuals and communities affected by HIV/AIDS have mobilized musical sound in response to the disease. Topics addressed within the class will include musical representations of HIV/AIDS within queer communities; the use of music in public health campaigns to raise awareness about the disease; and the mobilization of musical performance within grassroots support groups for individuals affected by HIV/AIDS.

BUILDING: LATT | ROOM: 540

In this course, students will work on expanding their repertory of rhythms from Guinea, West Africa, and on improving their playing technique on the djembe, dunun, sangban, and kenkeni. In particular, we will concentrate on learning extended solo sequences for the djembe, and more advanced arrangements played on the dunun, sangban, and kenkeni. Students will also work on developing skills specific to performance, adding choreographed onstage movement to complement their drumming.

BUILDING: STRNG | ROOM: LOWER

PREREQUISITES: At least one semester of previous enrollment in the Intro West African Percussion Ensemble ***OR PRIOR MUSIC EXPERIENCE***.

Led by Master Drummer Fana Bangoura, the West African Drumming Ensemble is dedicated to the dynamic percussive traditions of Guinea. The ensemble combines 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 for the ensemble, enabling djembe players to develop technique in executing both accompaniment and solo parts. Drawing upon his experience as a soloist with the internationally acclaimed groups Les Percussions de Guinée and Les Ballets Africains, 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.

BUILDING: STRNG | ROOM: LOWER

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