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.

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: B320

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 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.

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.

This course focuses on the same broad topics as MUR 111, and draws from a similarly varied repertoire, but introduces more complex concepts, including chromatic harmony and scales, advanced formal analysis, key changes, elaborate rhythmic and metric patterns, and intricate textural layering. Prerequisite: MUR 111. (Spring only) This course focuses on the same broad topics as MUR 111, and draws from a similarly varied repertoire, but introduces more complex concepts, including chromatic harmony and scales, advanced formal analysis, key changes, elaborate rhythmic and metric patterns, and intricate textural layering. Prerequisite: MUR 111. (Spring only)

BUILDING: DEWEY | ROOM: 1305

PREREQUISITES: MUR 111.

This course focuses on the same broad topics as MUR 111, and draws from a similarly varied repertoire, but introduces more complex concepts, including chromatic harmony and scales, advanced formal analysis, key changes, elaborate rhythmic and metric patterns, and intricate textural layering. Prerequisite: MUR 111. (Spring only) This course focuses on the same broad topics as MUR 111, and draws from a similarly varied repertoire, but introduces more complex concepts, including chromatic harmony and scales, advanced formal analysis, key changes, elaborate rhythmic and metric patterns, and intricate textural layering. Prerequisite: MUR 111. (Spring only)

BUILDING: DEWEY | ROOM: 1305

PREREQUISITES: MUR 111.

This course focuses on the same broad topics as MUR 111, and draws from a similarly varied repertoire, but introduces more complex concepts, including chromatic harmony and scales, advanced formal analysis, key changes, elaborate rhythmic and metric patterns, and intricate textural layering. Prerequisite: MUR 111. (Spring only) This course focuses on the same broad topics as MUR 111, and draws from a similarly varied repertoire, but introduces more complex concepts, including chromatic harmony and scales, advanced formal analysis, key changes, elaborate rhythmic and metric patterns, and intricate textural layering. Prerequisite: MUR 111. (Spring only)

BUILDING: DEWEY | ROOM: B315

PREREQUISITES: MUR 111.

This course focuses on the same broad topics as MUR 111, and draws from a similarly varied repertoire, but introduces more complex concepts, including chromatic harmony and scales, advanced formal analysis, key changes, elaborate rhythmic and metric patterns, and intricate textural layering. Prerequisite: MUR 111. (Spring only) This course focuses on the same broad topics as MUR 111, and draws from a similarly varied repertoire, but introduces more complex concepts, including chromatic harmony and scales, advanced formal analysis, key changes, elaborate rhythmic and metric patterns, and intricate textural layering. Prerequisite: MUR 111. (Spring only)

BUILDING: DEWEY | ROOM: B315

PREREQUISITES: MUR 111.

This course focuses on the same broad topics as MUR 111, and draws from a similarly varied repertoire, but introduces more complex concepts, including chromatic harmony and scales, advanced formal analysis, key changes, elaborate rhythmic and metric patterns, and intricate textural layering. Prerequisite: MUR 111. (Spring only) This course focuses on the same broad topics as MUR 111, and draws from a similarly varied repertoire, but introduces more complex concepts, including chromatic harmony and scales, advanced formal analysis, key changes, elaborate rhythmic and metric patterns, and intricate textural layering. Prerequisite: MUR 111. (Spring only)

BUILDING: DEWEY | ROOM: B315

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: B320

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: B320

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: B320

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: B320

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: B320

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.

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BUILDING: ESM | ROOM: 443

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BUILDING: ESM | ROOM: 443

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BUILDING: MSH | ROOM: 410

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BUILDING: MSH | ROOM: 410

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.

BUILDING: STRNG | ROOM: LOWER

PREREQUISITES: No prerequisites.

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

This is a course devoted to the performance of work--both dramatic scenes and songs--from the musical theatre repertoire. The class follows a workshop model, with students singing, acting and performing material that is then critiqued and reworked. Students will get to work on both contemporary and Golden Age musical theatre repertoire in both solo/monologue format and in scenes. The class is intended for students with some background in musical theatre performance and is by audition only. The class may culminate in a public showing of work undertaken over the course of the semester. Auditions will be held on Wed 10/30 @ 3pm in 107 Todd Union.

BUILDING: TODD | ROOM: 107

PREREQUISITES: BY AUDITION ONLY - WED 10/30 @ 3pm IN 107 TODD UNION

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 course will examine the relationship between the religious and theological beliefs of African American musicians and their musical artistry. We will journey through various African American music genres of the 20th century—blues, jazz, gospel, soul, funk, hip hop, etc—and will study how religion has influenced performance style, lyrical content, vocality, melodic and harmonic contour, among a host of other factors.

BUILDING: DEWEY | ROOM: B315

This course explores the evolving role of orchestral literature in western music from the Classical period through film music today. Over the semester we examine several large-scale works in depth to better understand their context, structure, and significance. This course includes discussions on interpretation, as well as performance and conducting challenges. While the ability to read music is not required, students should be passionate about classical orchestral repertoire and its changing role over time.

BUILDING: STRNG | ROOM: LOWER

Kerfala Fana Bangoura will lead this exploration in Dance, Drumming and Historical Context in Guinea, West Africa. The instructor is a native of Guinea and has been a part of prestigious National companies Les Ballets Africains and Percussion de Guinee. The instruction will include rhythmic foundations for drummers and dancers and will build knowledge of the djembe, dundun, sangban, kenkeni, krins and bell and how they are used culturally for music and dance. Students will learn style, form, technique, and historical context of the dance right in the midst of the vibrant culture and landscape of Guinea. Course will be offered December 27, 2019-January 13, 2020.

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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

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

BUILDING: HUTCH | ROOM: 140

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)

BUILDING: OBRN | ROOM: 104

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

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BUILDING: ET | ROOM: 12

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

BUILDING: STRNG | ROOM: LOWER

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

BUILDING: DEWEY | ROOM: 1305

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BUILDING: ET | ROOM: 12

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

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

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BUILDING: DEWEY | ROOM: B320

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BUILDING: DEWEY | ROOM: B320

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BUILDING: DEWEY | ROOM: B320

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.co

BUILDING: SPURR | ROOM: DANCE

PREREQUISITES: MUR 168A or MUR 168B

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: GAVET | ROOM: 305

PREREQUISITES: Not open to First Year Non-Major students

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: GAVET | ROOM: 305

PREREQUISITES: Not open to First Year Non-major students

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: GAVET | ROOM: 305

PREREQUISITES: Not open to First Year students

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: GAVET | ROOM: 305

PREREQUISITES: Not open to First Year students

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: 616

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: 616

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.

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.

Survey of Western classical music from ca. 1600 to b1800, 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.

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.

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.

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: B315

PREREQUISITES: Prerequisite: MUR 223, MUR 212.

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: 441

PREREQUISITES: Instructor Permission Student should describe interest in music study, ethnography, HIV/AIDS, completed music, anthropology, public health, African Studies, gender studies, or other related coursework.

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BUILDING: | ROOM:

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BUILDING: | ROOM:

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BUILDING: | ROOM:

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BUILDING: | ROOM:

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BUILDING: | ROOM:

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BUILDING: | ROOM:

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: 441

PREREQUISITES: Instructor Permission Student should describe interest in music study, ethnography, HIV/AIDS, completed music, anthropology, public health, African Studies, gender studies, or other related coursework.

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

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.co

BUILDING: SPURR | ROOM: DANCE

PREREQUISITES: MUR 168A or MUR 168B

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BUILDING: | ROOM:

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BUILDING: | ROOM: