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: 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: B320

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: HUTCH | ROOM: 140

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

The first in a four-course sequence. Deals with basic elements of harmony, voice-leading, and analysis. Part-writing in chorale style teaches elementary aspects of tonal theory. Prospective music majors should begin their theory requirement with this course. Prereq: MUR 101, 110 or permission of instructor (placement test).

BUILDING: DEWEY | ROOM: 1305

PREREQUISITES: MUR 101 or 110 or permission of instructor (placement test).

The first in a four-course sequence. Deals with basic elements of harmony, voice-leading, and analysis. Part-writing in chorale style teaches elementary aspects of tonal theory. Prospective music majors should begin their theory requirement with this course. Prereq: MUR 101, 110 or permission of instructor (placement test).

BUILDING: DEWEY | ROOM: B315

PREREQUISITES: MUR 101 or 110 or permission of instructor (placement test).

The first in a four-course sequence. Deals with basic elements of harmony, voice-leading, and analysis. Part-writing in chorale style teaches elementary aspects of tonal theory. Prospective music majors should begin their theory requirement with this course. Prereq: MUR 101, 110 or permission of instructor (placement test).

BUILDING: DEWEY | ROOM: 1305

PREREQUISITES: MUR 101 or 110 or permission of instructor (placement test).

The first in a four-course sequence. Deals with basic elements of harmony, voice-leading, and analysis. Part-writing in chorale style teaches elementary aspects of tonal theory. Prospective music majors should begin their theory requirement with this course. Prereq: MUR 101, 110 or permission of instructor (placement test).

BUILDING: DEWEY | ROOM: 1305

PREREQUISITES: MUR 101 or 110 or permission of instructor (placement test).

The first in a four-course sequence. Deals with basic elements of harmony, voice-leading, and analysis. Part-writing in chorale style teaches elementary aspects of tonal theory. Prospective music majors should begin their theory requirement with this course. Prereq: MUR 101, 110 or permission of instructor (placement test).

BUILDING: LATT | ROOM: 210

PREREQUISITES: MUR 101 or 110 or permission of instructor (placement test).

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: 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: 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: 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: 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: 1305

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 118 (I-II-2) BEG PIANO:RC NON-MUSIC MAJOR MUR 118: Class Piano for River Campus students (non-music majors). FOR BEGINNERS ONLY; NO EXCEPTIONS. Please copy and paste the following link into a browser: http://www.esm.rochester.edu/classpiano/courses-for-river-campus/

BUILDING: MSH | ROOM: 410

1MUR 118 (I-II-2) BEG PIANO:RC NON-MUSIC MAJOR MUR 118: Class Piano for River Campus students (non-music majors). FOR BEGINNERS ONLY; NO EXCEPTIONS. 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 118 (I-II-2) BEG PIANO:RC NON-MUSIC MAJOR MUR 118: Class Piano for River Campus students (non-music majors). FOR BEGINNERS ONLY; NO EXCEPTIONS. Please copy and paste the following link into a browser: http://www.esm.rochester.edu/classpiano/courses-for-river-campus/

BUILDING: MSH | ROOM: 410

1MUR 118 (I-II-2) BEG PIANO:RC NON-MUSIC MAJOR MUR 118: Class Piano for River Campus students (non-music majors). FOR BEGINNERS ONLY; NO EXCEPTIONS. Please copy and paste the following link into a browser: http://www.esm.rochester.edu/classpiano/courses-for-river-campus/

BUILDING: ESM | ROOM: 443

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: | ROOM:

PREREQUISITES: No prerequisites.

This study of Jazz, as an American musical art form, will be structured around the lives and music of jazz musicians, across a range of instrumental, vocal, and ensemble genres. Course focuses on jazz titans, those individuals and musical groups distinguished by their seminal and permanent influences, such as Louis Armstrong, Miles Davis, or Coleman Hawkins or shorter intense careers, such as Charlie Parker. Blues, ragtime, swing, bebop, cool, progressive, and free jazz are landmark terms. And finally, study of the musical history will be enhanced by considerations from sociological, linguistic, and philosophical perspectives. The instructional format includes lectures, discussion and intense emphasis on listening. This course is designed for students with little or no musical training; simple technical, musical vocabulary and concepts will be provided. Reading, listening assignments, brief written assignments and two exams. No prerequisites. (Fall Only)

BUILDING: STRNG | ROOM: LOWER

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

BUILDING: DEWEY | ROOM: 1305

This course explores the history of rock music, emphasizing primarily the period between 1955-1990. Discussion and reading focusing on identifying a variety of rock-music styles within the historical context of the development, transformation, and interaction of pop styles. Issues of technological development, social, political, and cultural context, race and gender, and music-business practices will also be considered. No prerequisites for this course.

BUILDING: LATT | ROOM: 201

PREREQUISITES: Knowledge of technical musical terms and an ability to read music are NOT required for this course.

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: DEWEY | ROOM: B315

PREREQUISITES: MUR 112 or permission of instructor

This course introduces the basics of conducting technique, score study, interpretation, rehearsing, and programming. While the class will acknowledge differences in leading various ensembles, the focus will be on orchestra conducting. The class will include the opportunity to lead students in the class in live performance. As such, students should feel comfortable performing on an instrument or singing as part of a group. Students must be able to read music and analyze harmonic and formal structures. Prerequisites: MUR 112 required. MUR 211 strongly recommended. May take concurrently with MUR 211.

BUILDING: DEWEY | ROOM: B349

This course considers an often overlooked element in the study of hip hop culture, religion. Specifically, the course offers students the opportunity to examine the variety of ways that religion finds expression in the dynamic cultural medium of hip hop. Class format includes lectures, discussions, films, and video/music presentations.

BUILDING: | ROOM:

Provides an introduction to the science and technology of audio. Students will learn about the vibration of strings, musical tuning systems, overtones and timbre, modes of oscillation through the concept of a guitar. Fourier analysis, transducers and passive electrical components and circuits will be introduced when discussing amps and audio components. Hands on projects introduce the fundamental concepts of electronics, including voltage, current, resistance and impedance, basic circuit analysis, ac circuits, impedance matching, and analog signals. The course then introduces basic digital signal processing concepts, where they will use Arduinos and Pure Data to learn about conversion of sound to digital format, frequency analysis, digital filtering and signal processing and musical sound synthesis. AME140 is recommended as an introduction to the Audio and Music Engineering major but is accessible to students of music or other non-technical disciplines who wish to learn the fundamentals of music technology.

BUILDING: CSB | ROOM: 209

PREREQUISITES: HIGH SCHOOL ALGEBRA AND TRIGONOMETRY

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BUILDING: HOPE | ROOM: 202

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BUILDING: HOPE | ROOM: 202

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BUILDING: HOPE | ROOM: 202

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: LATT | ROOM: 201

PREREQUISITES:

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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PREREQUISITES:

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: DEWEY | ROOM: B315

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

6ENS 215 (I, II-1) Gamelan Ensemble: The Eastman Gamelan Ensemble performs traditional and modern Balinese music, as well as new compositions in the gamelan gong kebyar style. Working with director I Nyoman Suadine students will be taught through the aural tradition without the aide of notation and experience how this method requires players to work together closely in order to perform as one a unified whole. Weekly rehearsals prepare students for performances throughout the year including the annual World Music Series concert. Open to all students regardless of major. May be repeated for credit.

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

Introduction to the discipline of music cognition. Topics include empirical methods, psycho-acoustic principles, influence of Gestalt psychology, music and language, metric and tonal hierarchies, music and the brain, aspects of musical development, and research on musical memory, expectation, and emotion.

BUILDING: GAVET | ROOM: 202

PREREQUISITES: One semester of collegiate music theory (MUR 101, MUR 110, MUR 111 or TH 101), AP exam score of 4 or 5, or permission of instructor.

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

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: STRNG | ROOM: LOWER

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

PREREQUISITES: Not open to First Year students

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

BUILDING: RETT | ROOM: 303

PREREQUISITES: AME 191and Instructors permission

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

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: | ROOM:

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.

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.

BUILDING: DEWEY | ROOM: B315

PREREQUISITES: MUR 111 or permission of the Instructor

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

BUILDING: | ROOM:

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

BUILDING: RRLIB | ROOM: 416

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

BUILDING: DEWEY | ROOM: B315

PREREQUISITES: MUR 112.

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

BUILDING: DEWEY | ROOM: B320

PREREQUISITES: MUR 112.

This musical analysis course will examine the use of form in American and British popular music of the 20th century. Examples will be drawn from Tin Pan Alley, stage and film musicals, country, folk, blues, jazz, r & b, rock, and hip hop.  Prerequisite: MUR 112 or its equivalent.

BUILDING: DEWEY | ROOM: 1305

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

BUILDING: DEWEY | ROOM: 1305

PREREQUISITES: Completion of or current enrollment in MUR 111. For sophomores and above.

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BUILDING: DEWEY | ROOM: B315

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BUILDING: DEWEY | ROOM: B315

The history of western art music from approximately 1730-1850, 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.

BUILDING: DEWEY | ROOM: 1305

PREREQUISITES: Prerequisite: MUR 222, MUR 212

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BUILDING: DEWEY | ROOM: 1305

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BUILDING: DEWEY | ROOM: 1305

This course provides a multifaceted account of the evolution of sound technologies, starting with Edison’s invention of the phonograph in 1877 through the development of microphones, radio, magnetic tape recording, vinyl records, multi-track recording, digital audio, compact discs, the MP3 format, surround sound, online music streaming, and 3D audio. We will discuss how technology has shaped the musical experience, and, conversely, how the performance of various genres of music, including classical, rock, jazz, hip-hop, and country, has influenced the development of audio technologies. We will also investigate, drawing from a variety of primary and secondary sources, how certain legendary recordings were produced, including those of Enrico Caruso, Bessie Smith, Les Paul, Louis Armstrong, Elvis Presley, The Beatles, Michael Jackson, and Madonna. A special topic focuses on spatial audio for virtual reality (VR) and augmented reality (AR), binaural recording, and ambisonics.

BUILDING: CSB | ROOM: 601

PREREQUISITES: All students, including technology and music majors, are welcome.

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BUILDING: | ROOM:

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BUILDING: | ROOM:

This study of Jazz, as an American musical art form, will be structured around the lives and music of jazz musicians, across a range of instrumental, vocal, and ensemble genres. Course focuses on jazz titans, those individuals and musical groups distinguished by their seminal and permanent influences, such as Louis Armstrong, Miles Davis, or Coleman Hawkins or shorter intense careers, such as Charlie Parker. Blues, ragtime, swing, bebop, cool, progressive, and free jazz are landmark terms. And finally, study of the musical history will be enhanced by considerations from sociological, linguistic, and philosophical perspectives. The instructional format includes lectures, discussion and intense emphasis on listening. This course is designed for students with little or no musical training; simple technical, musical vocabulary and concepts will be provided. Reading, listening assignments, brief written assignments and two exams. No prerequisites. (Fall Only)

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***.

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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BUILDING: | ROOM: