Term Schedule
Check the course schedules/descriptions available via the Registrar's Office for the official schedules for the widest range of terms for which such information is available.
Fall 2024
| Number | Title | Instructor | Time |
|---|
|
MUSC 100-1
Andrew Cashner
TR 12:30PM - 1:45PM
|
|
This introductory course explores music of a variety of styles and genres, including classical and jazz, pop and rock, musical theatre, and film music. We will discuss the basics of how music is constructed, develop critical listening skills, and explore the ways in which music may function in society by examining intersections between music and the other arts and literature, politics, technology, and identity. No prior music background expected.
|
|
MUSC 101-01
Naomi Gregory
MW 9:00AM - 10:15AM
|
|
A course for the student with no previous musical experience. Topics covered include notation, intervals, chords, and other basic concepts of tonal harmony, with application to the study of a wide range of styles including popular idioms. Students should not be able to read music. Students who complete MUSC 110 may NOT enroll in MUSC 101, credit will NOT be given for both.
|
|
MUSC 104-1
Doris Aman
7:00PM - 7:00PM
|
|
Private carillon instruction, weekly 30-minute lessons or the equivalent. Assignments, public concerts (3+), and open tower workshop sessions are scheduled in addition to 30 min weekly lessons. Prerequisites for MUSC 104 are: - Fluent sight reading of both treble and bass clef. - No fear of heights. - Climb or descend 12 flights of steps, as necessary. - Instruction in keyboard recommended, several years (piano, organ, advanced marimba). - By audition only, contact instructor a week prior to first day of class. Permission of instructor required.
|
|
MUSC 109-1
Naomi Gregory
TR 2:00PM - 2:50PM
|
|
Introduces students to basic musicianship skills. Begins with exercises in pitch matching and basic interval recognition and progresses toward other skills, such as singing simple melodies at sight, sight-reading various rhythmic patterns, and dictating simple melodies and chord progressions. Prospective music majors, especially those with prior singing experience, typically skip this course and begin with MUR 113.
|
|
MUSC 109-2
Naomi Gregory
TR 3:25PM - 4:15PM
|
|
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.
|
|
MUSC 110-1
Jason Titus
MW 12:30PM - 1:45PM
|
|
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.
|
|
MUSC 111-06
–
TR 2:00PM - 3:15PM
|
|
This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical? music. Prospective music majors should begin their theory requirement with this course. Prerequisites: MUSC 101, 110 or permission of instructor (placement test)
|
|
MUSC 111-1
Jason Titus
TR 11:05AM - 12:20PM
|
|
This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical music. Prospective music majors should begin their theory requirement with this course. Prerequisites: MUSC 101, 110 or permission of instructor (placement test).
|
|
MUSC 111-2
Naomi Gregory
MW 2:00PM - 3:15PM
|
|
This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical music. Prospective music majors should begin their theory requirement with this course. Prerequisites: MUSC 101, 110 or permission of instructor (placement test).
|
|
MUSC 111-3
Matthew BaileyShea
MW 12:30PM - 1:45PM
|
|
This section is intended for FIRST YEAR students!! This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical? music. Prospective music majors should begin their theory requirement with this course. Prerequisites: MUSC 101, 110 or permission of instructor (placement test)
|
|
MUSC 111-4
Jason Titus
TR 12:30PM - 1:45PM
|
|
This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical music. Prospective music majors should begin their theory requirement with this course. Prerequisites: MUSC 101, 110 or permission of instructor (placement test).
|
|
MUSC 111-5
John Covach
MW 11:05AM - 12:20PM
|
|
This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical? music. Prospective music majors should begin their theory requirement with this course. Prerequisites: MUSC 101, 110 or permission of instructor (placement test).
|
|
MUSC 113-1
Christopher Meeker
TR 9:00AM - 9:50AM
|
|
This course develops basic musicianship skills with an emphasis of diatonic sight-singing, rhythmic sight-reading, and dictation of diatonic melodies and chord progressions. The exercises and in-class activities are similar to MUSC 109 but at a more advanced level. (1 credit)
|
|
MUSC 113-2
Christopher Meeker
TR 10:00AM - 10:50AM
|
|
This course develops basic musicianship skills with an emphasis of diatonic sight-singing, rhythmic sight-reading, and dictation of diatonic melodies and chord progressions. The exercises and in-class activities are similar to MUSC 109 but at a more advanced level. (1 credit)
|
|
MUSC 113-3
Christopher Meeker
TR 11:00AM - 11:50AM
|
|
This course develops basic musicianship skills with an emphasis of diatonic sight-singing, rhythmic sight-reading, and dictation of diatonic melodies and chord progressions. The exercises and in-class activities are similar to MUSC 109 but at a more advanced level. (1 credit)
|
|
MUSC 114-1
Christopher Meeker
MW 10:00AM - 10:50AM
|
|
Continuation of MUSC 113 with an increased emphasis on chrom- aticism, especially simple modulation and mode mixture. The course puts emphasis on ensemble singing and aural analysis. Prerequisites: MUSC 113 or permission of theory coordinator.
|
|
MUSC 115-1
Christopher Meeker
MW 11:00AM - 11:50AM
|
|
Continuation of MUSC 114 with greater emphasis on chromaticism and aural analysis.
|
|
MUSC 116-1
Bruce Frank
MW 8:00AM - 8:50AM
|
|
Introduces students to the keyboard as a vehicle for broader musical development. Covers basic piano technique, sight-reading of simple chord progressions, realization of figured bass, and basic improvisation. No prior keyboard training required. Permission of instructor required. (2 credits)
|
|
MUSC 117-1
Bruce Frank
MW 11:50AM - 12:40PM
|
|
Continuation of MUSC 116. Students completing this course fulfill the piano proficiency for the music major. Prerequisite: MUSC 116 or permission of instructor.
|
|
MUSC 122-01
Gino Pinzone
7:00PM - 7:00PM
|
|
This course is not open to the general student population. Students who audition for Secondary Voice lessons at the Eastman School of Music may be assigned to this course after auditioning. Students assigned to this course after their audition are expected to re-audition for secondary lessons the next semester. Please contact the River Campus Music Department for information about auditioning for secondary lessons. Auditions take place at the beginning of the Fall and Spring semesters.
|
|
MUSC 123-01
Cory Hunter
MW 12:30PM - 1:45PM
|
|
This course will focus on the development of African American music from the 19th century through the latter part of the 20thcentury. We will study how African American music can be used a lens through which to understand the black American experience and the social and political landscape of American society as a whole. The historical, social, economic, and musical factors of various black American music genres will be examined with the aim to understand how African Americans constructed identity and interpreted the world around them. We will also discuss the performative aspects of these genres in order to understand how black music artists used their bodies and asserted their agency through performance on stage. Genres to be explored include the 19thcentury spiritual, the blues, gospel, jazz, early rock and roll, soul music, funk, rhythm and blues, and hip hop, among others.
|
|
MUSC 124-1
Bruce Pilato
T 5:00PM - 7:00PM
|
|
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** Spring 2024 dates will be sent out by the instructor.
|
|
MUSC 126-01
Andrew Cashner
TR 9:40AM - 10:55AM
|
|
Since ancient times people have used music to tell stories on stage, from Oedipus and Orpheus to Tosca and Hamilton. This course gives students the opportunity to engage closely with works of musical drama on related themes from multiple global traditions, including American musical theater, Italian opera, and Beijing opera. We will explore how composers, performers, and producers combine drama, music, staging, spectacle, and dance to create multisensory dramatic experiences for audiences. The creative contributions of women and people of color will be highlighted as we consider these controversial traditions, which have so often entertained the wealthy while reinforcing inequity but have also enabled people to question power by envisioning a new society on stage. Emphasis on discussion and group work; no prior musical knowledge or ability is required.
|
|
MUSC 130-01
John Covach
MW 2:00PM - 3:15PM
|
|
The history of the Beatles career and music is explored in the context of the bands stylistic development, as well as against the backdrop of social, cultural, technical, and music-business events and issues of the 1950s, 60s and 70s. No background in music theory or ability to play a musical instrument is required.
|
|
MUSC 134-1
Jacquelyn Sholes
TR 3:25PM - 4:40PM
|
|
An introduction to the history of Western classical music from the Middle Ages to the present, with emphasis on recognition of the chief stylistic characteristics and understanding of major genres of each period. Prerequisite: MUSC 112 or permission of instructor.
|
|
MUSC 135-1
Daniel Beaumont
TR 12:30PM - 1:45PM
|
|
The origins of the Blues in the context of African-American culture in the late 19th and early 20th centuries, it's rapid rise to becoming the dominant popular music in the African- American community, and the discovery of blues by white audiences.
|
|
MUSC 136A-01
Honey Meconi
MW 10:25AM - 11:40AM
|
|
This class explores the many genres of Western classical music, with examples drawn from the symphonic repertoire, chamber music, solo keyboard works, opera, choral music, and art song. Music from the Baroque to the present will be included. The emphasis will be on music being performed in Rochester during the semester. No prerequisites.
|
|
MUSC 138-1
Mark Powell
MW 3:25PM - 4:40PM
|
|
This course introduces the basics of conducting technique, score study, interpretation, rehearsing, and programming. While the class will acknowledge differences in leading various ensembles, the focus will be on orchestra conducting. The class will include the opportunity to lead students in the class in live performance. As such, students should feel comfortable performing on an instrument or singing as part of a group. Students must be able to read music and analyze harmonic and formal structures. Prerequisites: MUSC 112 required. MUSC 211 strongly recommended. May take concurrently with MUSC 211.
|
|
MUSC 140-1
Cona Marshall
MW 11:50AM - 1:05PM
|
|
Drake, Sexxy Redd, Kodak Black and several other contemporary rap artists operate within long traditions of hip hop that make religious claims. This course provides an overview of histories and contexts of hip hop genres (trap, conscious, dance/party, mumble, drill…) in correlation with contexts of Black religious groups (Black Israelites, Moorish Science Temple of America, Five Percenters, Christianity, Nation of Islam, Yoruba, Atheism…). This course will be interactive, consisting of listening parties, (guests) lectures, DJ presentations, discussions, and a field trip to a Black religious and/or hip hop experience. By the end of the class, students will have a playlist that professes a religious claim.
|
|
MUSC 141-1
Sarah Smith
TR 12:30PM - 1:45PM
|
|
Provides an introduction to the science and technology of audio. Students will learn about the vibration of strings, musical tuning systems, overtones and timbre, modes of oscillation through the concept of a guitar. Fourier analysis, transducers and passive electrical components and circuits will be introduced when discussing amps and audio components. Hands on projects introduce the fundamental concepts of electronics, including voltage, current, resistance and impedance, basic circuit analysis, ac circuits, impedance matching, and analog signals. The course then introduces basic digital signal processing concepts, where they will use Arduinos and Pure Data to learn about conversion of sound to digital format, frequency analysis, digital filtering and signal processing and musical sound synthesis. MUSC 141 is recommended as an introduction to the Audio and Music Engineering major but is accessible to students of music or other non-technical disciplines who wish to learn the fundamentals of music technology.
|
|
MUSC 141-2
Sarah Smith
W 4:50PM - 7:30PM
|
|
Provides an introduction to the science and technology of audio. Students will learn about the vibration of strings, musical tuning systems, overtones and timbre, modes of oscillation through the concept of a guitar. Fourier analysis, transducers and passive electrical components and circuits will be introduced when discussing amps and audio components. Hands on projects introduce the fundamental concepts of electronics, including voltage, current, resistance and impedance, basic circuit analysis, ac circuits, impedance matching, and analog signals. The course then introduces basic digital signal processing concepts, where they will use Arduinos and Pure Data to learn about conversion of sound to digital format, frequency analysis, digital filtering and signal processing and musical sound synthesis. This course is recommended as an introduction to the Audio and Music Engineering major but is accessible to students of music or other non-technical disciplines who wish to learn the fundamentals of music technology.
|
|
MUSC 141-3
Sarah Smith
W 2:00PM - 4:40PM
|
|
Provides an introduction to the science and technology of audio. Students will learn about the vibration of strings, musical tuning systems, overtones and timbre, modes of oscillation through the concept of a guitar. Fourier analysis, transducers and passive electrical components and circuits will be introduced when discussing amps and audio components. Hands on projects introduce the fundamental concepts of electronics, including voltage, current, resistance and impedance, basic circuit analysis, ac circuits, impedance matching, and analog signals. The course then introduces basic digital signal processing concepts, where they will use Arduinos and Pure Data to learn about conversion of sound to digital format, frequency analysis, digital filtering and signal processing and musical sound synthesis. This course is recommended as an introduction to the Audio and Music Engineering major but is accessible to students of music or other non-technical disciplines who wish to learn the fundamentals of music technology.
|
|
MUSC 141-4
Sarah Smith
F 9:40AM - 12:20PM
|
|
Provides an introduction to the science and technology of audio. Students will learn about the vibration of strings, musical tuning systems, overtones and timbre, modes of oscillation through the concept of a guitar. Fourier analysis, transducers and passive electrical components and circuits will be introduced when discussing amps and audio components. Hands on projects introduce the fundamental concepts of electronics, including voltage, current, resistance and impedance, basic circuit analysis, ac circuits, impedance matching, and analog signals. The course then introduces basic digital signal processing concepts, where they will use Arduinos and Pure Data to learn about conversion of sound to digital format, frequency analysis, digital filtering and signal processing and musical sound synthesis. This course is recommended as an introduction to the Audio and Music Engineering major but is accessible to students of music or other non-technical disciplines who wish to learn the fundamentals of music technology.
|
|
MUSC 147-01
Cory Hunter
MW 2:00PM - 3:15PM
|
|
In Gospel Music in America, we will examine the historical development of gospel music, beginning with 19th century slave spirituals and ending with an examination of 21st century gospel music practices. Throughout this course, we will attempt to answer the following questions: what is gospel music how are the parameters of the genre defined? How has gospel music participated in constructions of black identity and spiritual formation? How has the sound and presentation of gospel music evolved, i.e. instrumentation, vocal aesthetic, performance persona, and technique? Lectures and discussions will also highlight some of the perpetually controversial tensions that have come to define gospel music history and culture. Such tensions involve the commercialization of gospel music, the ambiguity of lyrical meaning, gospel musics flirtations with sensuality and sexuality, and debates about what constitutes authentic gospel music.
|
|
MUSC 150-1
Philip Silvey
R 6:30PM - 8:30PM
|
|
Participants in the Treble Chorus form a vocal ensemble of high-voiced singers from across the university community. They explore history and cultures by studying diverse repertoire, sharing their understandings in concert performances scheduled throughout the semester. They also have the opportunity to cultivate healthy vocal production and musicianship skills. To join, simply register for the class. The instructor will arrange voice part hearings during the first week of classes.
|
|
MUSC 152-1
Julie Covach
TR 4:50PM - 6:05PM
|
|
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.
|
|
MUSC 153-1
Mark Powell
T 7:30PM - 10:00PM
|
|
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.
|
|
MUSC 154-1
Mark Powell
M 4:50PM - 6:00PMW 4:50PM - 7:00PM
|
|
URCO (Chamber Orchestra) Membership is limited and is granted by the music director through competitive auditions, which occur prior to the first scheduled rehearsal of each season. Auditions may be held as needed during the academic year.
|
|
MUSC 155-1
Jennifer Carpenter
7:00PM - 7:00PM
|
|
The chamber music program facilitates formation and coaching of serious advanced chamber ensembles. One academic credit may be earned by registering and successfully completing all requirements listed under course work. Admission by permission of the coordinator. Participation will not count toward fulfillment of the ensemble requirement.
|
|
MUSC 156-1
Bill Tiberio
M 7:30PM - 10:00PM
|
|
Wind Symphony draws its membership primarily from the student body on River Campus and performs music of various styles, genres, and eras. Membership by audition. Coursework: One rehearsal per week; individual practice. At least four concerts per academic year. Attendance required at all rehearsals, dress rehearsals, and concerts, unless excused in advance by conductor.
|
|
MUSC 157-1
Bill Tiberio
R 4:50PM - 6:10PMT 4:50PM - 6:10PM
|
|
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)
|
|
MUSC 157A-1
Matthew Erman
U 3:30PM - 7:30PM
|
|
Small group playing of selections from the jazz repertoire, with an emphasis on improvisation. Admission is by permission of instructor only. (1 credit)
|
|
MUSC 158-01
Julius Dicks
T 7:00PM - 8:15PM
|
|
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)
|
|
MUSC 159-1
I Suadin
S 3:00PM - 5:30PM
|
|
The Eastman Gamelan performs traditional ceremonial music and new-style music (keybar) from Bali and also new compositions for Gamelan. (Fall and Spring) (1 credit)
|
|
MUSC 160-1
Julie Covach
W 4:50PM - 6:40PM
|
|
A mixed ensemble of voices that performs a wide variety of choral repertoire for large chorus, including regular performances with orchestra. An informalvoicing is required for all potential members; students must demonstrate the ability to sing in tune and read music. Prerequisite: Auditions are held each semester
|
|
MUSC 163-01
Zachary Peterson
R 2:00PM - 4:40PM
|
|
Musical Theatre Skills is a course designed to provide intensive practical experience with both scene-and-song work in the American Musical Theatre repertoire. Students will receive weekly coaching and rehearsal, with emphasis on characterization, acting and singing skills, and idiomatic performance practice. While this course has multiple readings and writing assignments, emphasis is on performance preparation. This course may culminate in a public showing of work studied over the course of the semester. Previous musical theatre experience is preferred, but not required.
|
|
MUSC 164-1
–
T 3:35PM - 5:25PM
|
|
Jazz Performance Workshop for Non-Majors: Combines the study of improvisation, theory, aural training and small group performance. Offered for non-majors from both Eastman and River Campus. This course may count as a chamber music credit, or for the WBP practical creative elective, only with permission of the students' department chair.
|
|
MUSC 165-1
–
M 6:30PM - 8:00PM
|
|
The Eastman Mbira Ensemble provides a hands-on introduction to the ancient and sophisticated musical tradition of the Shona mbira of Zimbabwe. Visiting Zimbabwean guest artists will also offer students the opportunity to delve more deeply into traditional musical practices and their cultural and spiritual context. Songs are taught aurally so no musical experience or training is required. **Participation will not count toward fulfillment of the ensemble requirement.**
|
|
MUSC 168-1
Kerfala Bangoura
MW 6:30PM - 7:45PM
|
|
Ensemble dedicated to dynamic percussive traditions of Guinea, combining the iconic djembe hand drum with a trio of drums played with sticks, known as dunun, sangban, and kenkeni. The powerful, multi-part relationships established by this trio of drums provide a rhythmic foundation, enabling djembe players to develop technique in executing accompaniment and solo parts. Fana engages ensemble players with a wide repertory of music from various regions of Guinea, including the rhythms of the Susu, Malinke, and Baga language groups. Intro and Advanced sessions offered each semester.
|
|
MUSC 170-1
Bill Tiberio
R 6:30PM - 7:15PM
|
|
Brass Choir is a 15-20 member ensemble dedicated to performing quality brass music at a high level while fostering a spirit of community among brass players on the RC. Open to experienced trumpet, horn, trombone, euphonium, and tuba players.
|
|
MUSC 180-1
John Covach
T 4:00PM - 7:00PM
|
|
The Rock Repertory Ensemble is devoted to performing accurate versions of songs from the rock music repertory, with selections ranging from the early 1950's to the present day. Open to guitarists, bassists, drummers, keyboard players, and singers, with consideration given to winds players depending on repertory for a given semester. Audition required.
|
|
MUSC 181-1
–
R 6:30PM - 7:30PM
|
|
This is an introductory guitar class that will teach guitar fundamentals and get students playing popular, rock, blues, classical, and simple jazz tunes by the end of the semester. This course is open to all guitar enthusiasts as well as music majors/minors seeking a 'methods class' approach to learning the instrument. Electric and acoustic guitars welcome. TA led organized practice sessions TBA. **GUITARS ARE NOT SUPPLIED***
|
|
MUSC 183-01
–
R 5:15PM - 6:15PM
|
|
Intro to Classical Guitar will introduce students to rudiments of classical guitar technique, including tuning, basic posture and position, chord formation, note reading, and introduction to repertoire. Basic ensemble techniques will be incorporated into class sessions. By the end of the semester, students will be able to: Individually perform beginning classical guitar repertoire, accompany songs with arpeggiated technique, sight-read assigned music selections, using standard music notation. **GUITARS ARE NOT SUPPLIED**
|
|
MUSC 183-02
–
M 5:15PM - 6:15PM
|
|
Intro to Classical Guitar will introduce students to rudiments of classical guitar technique, including tuning, basic posture and position, chord formation, note reading, and introduction to repertoire. Basic ensemble techniques will be incorporated into class sessions. By the end of the semester, students will be able to: Individually perform beginning classical guitar repertoire, accompany songs with arpeggiated technique, sight-read assigned music selections, using standard music notation. **GUITARS ARE NOT SUPPLIED**
|
|
MUSC 184-1
Kerfala Bangoura
TR 6:45PM - 8:15PM
|
|
Sansifanyi is an ensemble that provides various performance opportunities both on and off-campus for intermediate and advanced students of African dance & drumming. Instructor Kerfala Bangoura trains ensemble members in a performance style that integrates dance, drumming, vocal song, and narrative elements. Dancers who enroll in Sansifanyi will learn choreographic techniques for West African dance and gain experience dancing as soloists. Dancers will also learn focus on rhythmic timing and on drumming while dancing. Drummers enrolled in Sansifanyi will learn extended percussion arrangements and techniques for accompanying choreography. They will also learn how to play the breaks required of lead drummers. Prerequisites: Audition on First day of class OR for Drummers one of the following: MUR168A, MUR168B, MUR146. For Dancers of the following: DAN181&182, DAN 283, DAN 253, DAN 285. Email kerfala.bangoura@rochester.edu with questions.
|
|
MUSC 191-1
Stephen Roessner
TR 2:00PM - 3:15PM
|
|
This course covers the fundamentals in becoming an audio engineer. Topics covered include: Acoustics, Psychoacoustics, Microphones, Signal Processing, Tape Recording, Digital Audio Theory, Signal Flow, Studio Etiquette, Digital Audio Workstations, Music Business, Recording Audio, and Mixing Audio. You do not need any previous experience in recording, however some familiarity with music and how it is created is needed. There are four group recording projects that make up the bulk of the course, each with their own guidelines and challenges. This course requires considerable time to be spent on projects outside of the lecture and lab times. The labs are required to take this course. First-year non-AME Major students are ineligible to take this course. Prerequisites: None INSTRUCTOR PERMISSION ONLY.
|
|
MUSC 191-2
Stephen Roessner
T 4:50PM - 6:05PM
|
|
This course covers the acoustical and psychoacoustic fundamentals of audio recording including the nature of sound, sound pressure level, frequency and pitch, hearing and sound perception, reflection, absorption and diffusion of sound, sound diffraction, room acoustics, reverberation, and studio design principles. The course also provides practical experience in audio recording including an introduction to recording studio equipment, microphones and microphone placement techniques, signal flow, amplification, analog and digital recording, analog to digital conversion, digital processing of sound, multi-track recording and an introduction to mixing and mastering. Each student is required to complete a substantive recording project at the end of the course. (AME 191)
|
|
MUSC 191-3
Stephen Roessner
T 6:15PM - 7:30PM
|
|
This course covers the acoustical and psychoacoustic fundamentals of audio recording including the nature of sound, sound pressure level, frequency and pitch, hearing and sound perception, reflection, absorption and diffusion of sound, sound diffraction, room acoustics, reverberation, and studio design principles. The course also provides practical experience in audio recording including an introduction to recording studio equipment, microphones and microphone placement techniques, signal flow, amplification, analog and digital recording, analog to digital conversion, digital processing of sound, multi-track recording and an introduction to mixing and mastering. Each student is required to complete a substantive recording project at the end of the course. (AME 191)
|
|
MUSC 191-4
Stephen Roessner
T 7:40PM - 8:55PM
|
|
This course covers the acoustical and psychoacoustic fundamentals of audio recording including the nature of sound, sound pressure level, frequency and pitch, hearing and sound perception, reflection, absorption and diffusion of sound, sound diffraction, room acoustics, reverberation, and studio design principles. The course also provides practical experience in audio recording including an introduction to recording studio equipment, microphones and microphone placement techniques, signal flow, amplification, analog and digital recording, analog to digital conversion, digital processing of sound, multi-track recording and an introduction to mixing and mastering. Each student is required to complete a substantive recording project at the end of the course. (AME 191)
|
|
MUSC 192-3
Stephen Roessner
R 3:25PM - 4:40PM
|
|
This course is a continuation of AME191. Emphasis is on the development of critical listening skills and proficiency in audio mixing and mastering. Fundamental topics covered include the human auditory system, theories of hearing and audio perception, perception of loudness and pitch, critical bands and auditory masking, beats and roughness, temporal and pitch acuity, binaural hearing. Listening skills development include hearing width? and depth? in audio, mixing techniques in various musical genres, recognition of various effects including reverb, delay, compression, phasing and distortion. Production skills development includes equalization and achieving spectral balance, the use of compression and dynamic range control, achieving depth and dimension in recordings, panning and auditory scene control.
|
|
MUSC 192-4
Stephen Roessner
TR 9:40AM - 10:55AM
|
|
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.
|
|
MUSC 192-5
Stephen Roessner
T 3:25PM - 4:40PM
|
|
This course is a continuation of AME191. Emphasis is on the development of critical listening skills and proficiency in audio mixing and mastering. Fundamental topics covered include the human auditory system, theories of hearing and audio perception, perception of loudness and pitch, critical bands and auditory masking, beats and roughness, temporal and pitch acuity, binaural hearing. Listening skills development include hearing width? and depth? in audio, mixing techniques in various musical genres, recognition of various effects including reverb, delay, compression, phasing and distortion. Production skills development includes equalization and achieving spectral balance, the use of compression and dynamic range control, achieving depth and dimension in recordings, panning and auditory scene control.
|
|
MUSC 193-1
Robert LaVaque
TR 3:25PM - 4:40PM
|
|
The course is intended to provide students a basic understanding of SOUND DESIGN and working with sound for picture. The emphasis is on demonstrations and hands-on experience to enable students to gain a practical knowledge of sound and music production using computers. Topics include synthesizers & samplers; recording and editing with Pro Tools and Logic Pro; sound effect creation; foley & automatic dialog replacement; basic soundtrack composition; and working to picture. Many techniques are explored, employing software and hardware-based sound creation tools throughout the course. Students will complete a major sound design assignment for their final project.
|
|
MUSC 201-1
–
MW 6:15PM - 7:15PM
|
|
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.
|
|
MUSC 204-1
Doris Aman
7:00PM - 7:00PM
|
|
Private carillon instruction, weekly 60-minute lessons. Prerequisites for MUSC 204 are: - One semester of MUSC 104 completed or prior experience performing on a carillon. - By audition only, contact instructor a week prior to first day of class. Permission of instructor required.
|
|
MUSC 211-1
Bruce Frank
MW 2:00PM - 3:15PM
|
|
Continuation of MUSC 112. Focuses on analysis of large forms, such as sonata, rondo, and song forms. Includes advanced study of chromatic harmony and modulation to remote keys. Prerequisite: MUSC 112.
|
|
MUSC 211-2
Bruce Frank
MW 10:25AM - 11:40AM
|
|
Continuation of MUSC 112. Focuses on analysis of large forms, such as sonata, rondo, and song forms. Includes advanced study of chromatic harmony and modulation to remote keys. Prerequisite: MUSC 112.
|
|
MUSC 221-01
Honey Meconi
MW 2:00PM - 3:30PM
|
|
Survey of Western classical music through 1600, including the investigation of style, genre, transmission, contemporary theory, patronage, cultural context and meaning, etc. Workshops deal with topics such as transcription and performance practice. Prerequisite: Completion of or current enrollment in MUSC 111. For sophomores and above.
|
|
MUSC 221-02
Honey Meconi
F 3:00PM - 3:50PM
|
|
Survey of Western classical music through 1600, including the investigation of style, genre, transmission, contemporary theory, patronage, cultural context and meaning, etc. Workshops deal with topics such as transcription and performance practice. Prerequisite: Completion of or current enrollment in MUR 111. For sophomores and above.
|
|
MUSC 223-01
Jacquelyn Sholes
TR 2:00PM - 3:30PM
|
|
The history of western art music from approximately 1800-present, with an emphasis on analysis of the masterpieces of tonal music and their relationship to society and other arts. Lectures with extensive listening, reading, and analysis.
|
|
MUSC 223-02
Jacquelyn Sholes
F 2:00PM - 2:50PM
|
|
The history of western art music from approximately 1800-present, with an emphasis on analysis of the masterpieces of tonal music and their relationship to society and other arts. Lectures with extensive listening, reading, and analysis.
|
|
MUSC 390-1
–
7:00PM - 7:00PM
|
|
No description
|
|
MUSC 391-1
–
7:00PM - 7:00PM
|
|
Registration for Independent Study courses needs to be completed thru the instructions for online independent study registration.
|
|
MUSC 394-1
–
7:00PM - 7:00PM
|
|
Registration for Independent Study courses needs to be completed thru the instructions for online independent study registration.
|
|
MUSC 118-01
–
MW 6:35PM - 7:25PM
|
|
River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire. *Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits)
|
|
MUSC 118-02
–
MW 6:35PM - 7:25PM
|
|
River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire. *Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits)
|
|
MUSC 118-03
–
TR 6:35PM - 7:25PM
|
|
River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire. *Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits)
|
|
MUSC 118-04
–
TR 6:35PM - 7:25PM
|
|
River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire. *Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits)
|
|
MUSC 118-05
–
TR 5:35PM - 6:25PM
|
|
River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire. *Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits)
|
Fall 2024
| Number | Title | Instructor | Time |
|---|---|
| Monday | |
|
MUSC 154-1
Mark Powell
|
|
|
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. |
|
|
MUSC 183-02
–
|
|
|
Intro to Classical Guitar will introduce students to rudiments of classical guitar technique, including tuning, basic posture and position, chord formation, note reading, and introduction to repertoire. Basic ensemble techniques will be incorporated into class sessions. By the end of the semester, students will be able to: Individually perform beginning classical guitar repertoire, accompany songs with arpeggiated technique, sight-read assigned music selections, using standard music notation. **GUITARS ARE NOT SUPPLIED** |
|
|
MUSC 165-1
–
|
|
|
The Eastman Mbira Ensemble provides a hands-on introduction to the ancient and sophisticated musical tradition of the Shona mbira of Zimbabwe. Visiting Zimbabwean guest artists will also offer students the opportunity to delve more deeply into traditional musical practices and their cultural and spiritual context. Songs are taught aurally so no musical experience or training is required. **Participation will not count toward fulfillment of the ensemble requirement.** |
|
|
MUSC 156-1
Bill Tiberio
|
|
|
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. |
|
| Monday and Wednesday | |
|
MUSC 116-1
Bruce Frank
|
|
|
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) |
|
|
MUSC 101-01
Naomi Gregory
|
|
|
A course for the student with no previous musical experience. Topics covered include notation, intervals, chords, and other basic concepts of tonal harmony, with application to the study of a wide range of styles including popular idioms. Students should not be able to read music. Students who complete MUSC 110 may NOT enroll in MUSC 101, credit will NOT be given for both. |
|
|
MUSC 114-1
Christopher Meeker
|
|
|
Continuation of MUSC 113 with an increased emphasis on chrom- aticism, especially simple modulation and mode mixture. The course puts emphasis on ensemble singing and aural analysis. Prerequisites: MUSC 113 or permission of theory coordinator. |
|
|
MUSC 136A-01
Honey Meconi
|
|
|
This class explores the many genres of Western classical music, with examples drawn from the symphonic repertoire, chamber music, solo keyboard works, opera, choral music, and art song. Music from the Baroque to the present will be included. The emphasis will be on music being performed in Rochester during the semester. No prerequisites. |
|
|
MUSC 211-2
Bruce Frank
|
|
|
Continuation of MUSC 112. Focuses on analysis of large forms, such as sonata, rondo, and song forms. Includes advanced study of chromatic harmony and modulation to remote keys. Prerequisite: MUSC 112. |
|
|
MUSC 115-1
Christopher Meeker
|
|
|
Continuation of MUSC 114 with greater emphasis on chromaticism and aural analysis. |
|
|
MUSC 111-5
John Covach
|
|
|
This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical? music. Prospective music majors should begin their theory requirement with this course. Prerequisites: MUSC 101, 110 or permission of instructor (placement test). |
|
|
MUSC 117-1
Bruce Frank
|
|
|
Continuation of MUSC 116. Students completing this course fulfill the piano proficiency for the music major. Prerequisite: MUSC 116 or permission of instructor. |
|
|
MUSC 140-1
Cona Marshall
|
|
|
Drake, Sexxy Redd, Kodak Black and several other contemporary rap artists operate within long traditions of hip hop that make religious claims. This course provides an overview of histories and contexts of hip hop genres (trap, conscious, dance/party, mumble, drill…) in correlation with contexts of Black religious groups (Black Israelites, Moorish Science Temple of America, Five Percenters, Christianity, Nation of Islam, Yoruba, Atheism…). This course will be interactive, consisting of listening parties, (guests) lectures, DJ presentations, discussions, and a field trip to a Black religious and/or hip hop experience. By the end of the class, students will have a playlist that professes a religious claim. |
|
|
MUSC 110-1
Jason Titus
|
|
|
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. |
|
|
MUSC 111-3
Matthew BaileyShea
|
|
|
This section is intended for FIRST YEAR students!! This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical? music. Prospective music majors should begin their theory requirement with this course. Prerequisites: MUSC 101, 110 or permission of instructor (placement test) |
|
|
MUSC 123-01
Cory Hunter
|
|
|
This course will focus on the development of African American music from the 19th century through the latter part of the 20thcentury. We will study how African American music can be used a lens through which to understand the black American experience and the social and political landscape of American society as a whole. The historical, social, economic, and musical factors of various black American music genres will be examined with the aim to understand how African Americans constructed identity and interpreted the world around them. We will also discuss the performative aspects of these genres in order to understand how black music artists used their bodies and asserted their agency through performance on stage. Genres to be explored include the 19thcentury spiritual, the blues, gospel, jazz, early rock and roll, soul music, funk, rhythm and blues, and hip hop, among others. |
|
|
MUSC 111-2
Naomi Gregory
|
|
|
This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical music. Prospective music majors should begin their theory requirement with this course. Prerequisites: MUSC 101, 110 or permission of instructor (placement test). |
|
|
MUSC 130-01
John Covach
|
|
|
The history of the Beatles career and music is explored in the context of the bands stylistic development, as well as against the backdrop of social, cultural, technical, and music-business events and issues of the 1950s, 60s and 70s. No background in music theory or ability to play a musical instrument is required. |
|
|
MUSC 147-01
Cory Hunter
|
|
|
In Gospel Music in America, we will examine the historical development of gospel music, beginning with 19th century slave spirituals and ending with an examination of 21st century gospel music practices. Throughout this course, we will attempt to answer the following questions: what is gospel music how are the parameters of the genre defined? How has gospel music participated in constructions of black identity and spiritual formation? How has the sound and presentation of gospel music evolved, i.e. instrumentation, vocal aesthetic, performance persona, and technique? Lectures and discussions will also highlight some of the perpetually controversial tensions that have come to define gospel music history and culture. Such tensions involve the commercialization of gospel music, the ambiguity of lyrical meaning, gospel musics flirtations with sensuality and sexuality, and debates about what constitutes authentic gospel music. |
|
|
MUSC 211-1
Bruce Frank
|
|
|
Continuation of MUSC 112. Focuses on analysis of large forms, such as sonata, rondo, and song forms. Includes advanced study of chromatic harmony and modulation to remote keys. Prerequisite: MUSC 112. |
|
|
MUSC 221-01
Honey Meconi
|
|
|
Survey of Western classical music through 1600, including the investigation of style, genre, transmission, contemporary theory, patronage, cultural context and meaning, etc. Workshops deal with topics such as transcription and performance practice. Prerequisite: Completion of or current enrollment in MUSC 111. For sophomores and above. |
|
|
MUSC 138-1
Mark Powell
|
|
|
This course introduces the basics of conducting technique, score study, interpretation, rehearsing, and programming. While the class will acknowledge differences in leading various ensembles, the focus will be on orchestra conducting. The class will include the opportunity to lead students in the class in live performance. As such, students should feel comfortable performing on an instrument or singing as part of a group. Students must be able to read music and analyze harmonic and formal structures. Prerequisites: MUSC 112 required. MUSC 211 strongly recommended. May take concurrently with MUSC 211. |
|
|
MUSC 201-1
–
|
|
|
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. |
|
|
MUSC 168-1
Kerfala Bangoura
|
|
|
Ensemble dedicated to dynamic percussive traditions of Guinea, combining the iconic djembe hand drum with a trio of drums played with sticks, known as dunun, sangban, and kenkeni. The powerful, multi-part relationships established by this trio of drums provide a rhythmic foundation, enabling djembe players to develop technique in executing accompaniment and solo parts. Fana engages ensemble players with a wide repertory of music from various regions of Guinea, including the rhythms of the Susu, Malinke, and Baga language groups. Intro and Advanced sessions offered each semester. |
|
|
MUSC 118-01
–
|
|
|
River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire. *Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits) |
|
|
MUSC 118-02
–
|
|
|
River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire. *Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits) |
|
| Tuesday | |
|
MUSC 192-5
Stephen Roessner
|
|
|
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. |
|
|
MUSC 164-1
–
|
|
|
Jazz Performance Workshop for Non-Majors: Combines the study of improvisation, theory, aural training and small group performance. Offered for non-majors from both Eastman and River Campus. This course may count as a chamber music credit, or for the WBP practical creative elective, only with permission of the students' department chair. |
|
|
MUSC 180-1
John Covach
|
|
|
The Rock Repertory Ensemble is devoted to performing accurate versions of songs from the rock music repertory, with selections ranging from the early 1950's to the present day. Open to guitarists, bassists, drummers, keyboard players, and singers, with consideration given to winds players depending on repertory for a given semester. Audition required. |
|
|
MUSC 191-2
Stephen Roessner
|
|
|
This course covers the acoustical and psychoacoustic fundamentals of audio recording including the nature of sound, sound pressure level, frequency and pitch, hearing and sound perception, reflection, absorption and diffusion of sound, sound diffraction, room acoustics, reverberation, and studio design principles. The course also provides practical experience in audio recording including an introduction to recording studio equipment, microphones and microphone placement techniques, signal flow, amplification, analog and digital recording, analog to digital conversion, digital processing of sound, multi-track recording and an introduction to mixing and mastering. Each student is required to complete a substantive recording project at the end of the course. (AME 191) |
|
|
MUSC 124-1
Bruce Pilato
|
|
|
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** Spring 2024 dates will be sent out by the instructor. |
|
|
MUSC 191-3
Stephen Roessner
|
|
|
This course covers the acoustical and psychoacoustic fundamentals of audio recording including the nature of sound, sound pressure level, frequency and pitch, hearing and sound perception, reflection, absorption and diffusion of sound, sound diffraction, room acoustics, reverberation, and studio design principles. The course also provides practical experience in audio recording including an introduction to recording studio equipment, microphones and microphone placement techniques, signal flow, amplification, analog and digital recording, analog to digital conversion, digital processing of sound, multi-track recording and an introduction to mixing and mastering. Each student is required to complete a substantive recording project at the end of the course. (AME 191) |
|
|
MUSC 158-01
Julius Dicks
|
|
|
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) |
|
|
MUSC 153-1
Mark Powell
|
|
|
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. |
|
|
MUSC 191-4
Stephen Roessner
|
|
|
This course covers the acoustical and psychoacoustic fundamentals of audio recording including the nature of sound, sound pressure level, frequency and pitch, hearing and sound perception, reflection, absorption and diffusion of sound, sound diffraction, room acoustics, reverberation, and studio design principles. The course also provides practical experience in audio recording including an introduction to recording studio equipment, microphones and microphone placement techniques, signal flow, amplification, analog and digital recording, analog to digital conversion, digital processing of sound, multi-track recording and an introduction to mixing and mastering. Each student is required to complete a substantive recording project at the end of the course. (AME 191) |
|
| Tuesday and Thursday | |
|
MUSC 113-1
Christopher Meeker
|
|
|
This course develops basic musicianship skills with an emphasis of diatonic sight-singing, rhythmic sight-reading, and dictation of diatonic melodies and chord progressions. The exercises and in-class activities are similar to MUSC 109 but at a more advanced level. (1 credit) |
|
|
MUSC 126-01
Andrew Cashner
|
|
|
Since ancient times people have used music to tell stories on stage, from Oedipus and Orpheus to Tosca and Hamilton. This course gives students the opportunity to engage closely with works of musical drama on related themes from multiple global traditions, including American musical theater, Italian opera, and Beijing opera. We will explore how composers, performers, and producers combine drama, music, staging, spectacle, and dance to create multisensory dramatic experiences for audiences. The creative contributions of women and people of color will be highlighted as we consider these controversial traditions, which have so often entertained the wealthy while reinforcing inequity but have also enabled people to question power by envisioning a new society on stage. Emphasis on discussion and group work; no prior musical knowledge or ability is required. |
|
|
MUSC 192-4
Stephen Roessner
|
|
|
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. |
|
|
MUSC 113-2
Christopher Meeker
|
|
|
This course develops basic musicianship skills with an emphasis of diatonic sight-singing, rhythmic sight-reading, and dictation of diatonic melodies and chord progressions. The exercises and in-class activities are similar to MUSC 109 but at a more advanced level. (1 credit) |
|
|
MUSC 113-3
Christopher Meeker
|
|
|
This course develops basic musicianship skills with an emphasis of diatonic sight-singing, rhythmic sight-reading, and dictation of diatonic melodies and chord progressions. The exercises and in-class activities are similar to MUSC 109 but at a more advanced level. (1 credit) |
|
|
MUSC 111-1
Jason Titus
|
|
|
This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical music. Prospective music majors should begin their theory requirement with this course. Prerequisites: MUSC 101, 110 or permission of instructor (placement test). |
|
|
MUSC 100-1
Andrew Cashner
|
|
|
This introductory course explores music of a variety of styles and genres, including classical and jazz, pop and rock, musical theatre, and film music. We will discuss the basics of how music is constructed, develop critical listening skills, and explore the ways in which music may function in society by examining intersections between music and the other arts and literature, politics, technology, and identity. No prior music background expected. |
|
|
MUSC 111-4
Jason Titus
|
|
|
This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical music. Prospective music majors should begin their theory requirement with this course. Prerequisites: MUSC 101, 110 or permission of instructor (placement test). |
|
|
MUSC 135-1
Daniel Beaumont
|
|
|
The origins of the Blues in the context of African-American culture in the late 19th and early 20th centuries, it's rapid rise to becoming the dominant popular music in the African- American community, and the discovery of blues by white audiences. |
|
|
MUSC 141-1
Sarah Smith
|
|
|
Provides an introduction to the science and technology of audio. Students will learn about the vibration of strings, musical tuning systems, overtones and timbre, modes of oscillation through the concept of a guitar. Fourier analysis, transducers and passive electrical components and circuits will be introduced when discussing amps and audio components. Hands on projects introduce the fundamental concepts of electronics, including voltage, current, resistance and impedance, basic circuit analysis, ac circuits, impedance matching, and analog signals. The course then introduces basic digital signal processing concepts, where they will use Arduinos and Pure Data to learn about conversion of sound to digital format, frequency analysis, digital filtering and signal processing and musical sound synthesis. MUSC 141 is recommended as an introduction to the Audio and Music Engineering major but is accessible to students of music or other non-technical disciplines who wish to learn the fundamentals of music technology. |
|
|
MUSC 109-1
Naomi Gregory
|
|
|
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. |
|
|
MUSC 111-06
–
|
|
|
This course introduces students to essential aspects of music theory, including harmony, rhythm and meter, melody, form, and texture. The course will draw upon music from a variety of styles and genres, including pop, rock, jazz, musical theater, film music, and classical? music. Prospective music majors should begin their theory requirement with this course. Prerequisites: MUSC 101, 110 or permission of instructor (placement test) |
|
|
MUSC 191-1
Stephen Roessner
|
|
|
This course covers the fundamentals in becoming an audio engineer. Topics covered include: Acoustics, Psychoacoustics, Microphones, Signal Processing, Tape Recording, Digital Audio Theory, Signal Flow, Studio Etiquette, Digital Audio Workstations, Music Business, Recording Audio, and Mixing Audio. You do not need any previous experience in recording, however some familiarity with music and how it is created is needed. There are four group recording projects that make up the bulk of the course, each with their own guidelines and challenges. This course requires considerable time to be spent on projects outside of the lecture and lab times. The labs are required to take this course. First-year non-AME Major students are ineligible to take this course. Prerequisites: None INSTRUCTOR PERMISSION ONLY. |
|
|
MUSC 223-01
Jacquelyn Sholes
|
|
|
The history of western art music from approximately 1800-present, with an emphasis on analysis of the masterpieces of tonal music and their relationship to society and other arts. Lectures with extensive listening, reading, and analysis. |
|
|
MUSC 109-2
Naomi Gregory
|
|
|
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. |
|
|
MUSC 134-1
Jacquelyn Sholes
|
|
|
An introduction to the history of Western classical music from the Middle Ages to the present, with emphasis on recognition of the chief stylistic characteristics and understanding of major genres of each period. Prerequisite: MUSC 112 or permission of instructor. |
|
|
MUSC 193-1
Robert LaVaque
|
|
|
The course is intended to provide students a basic understanding of SOUND DESIGN and working with sound for picture. The emphasis is on demonstrations and hands-on experience to enable students to gain a practical knowledge of sound and music production using computers. Topics include synthesizers & samplers; recording and editing with Pro Tools and Logic Pro; sound effect creation; foley & automatic dialog replacement; basic soundtrack composition; and working to picture. Many techniques are explored, employing software and hardware-based sound creation tools throughout the course. Students will complete a major sound design assignment for their final project. |
|
|
MUSC 152-1
Julie Covach
|
|
|
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. |
|
|
MUSC 118-05
–
|
|
|
River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire. *Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits) |
|
|
MUSC 118-03
–
|
|
|
River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire. *Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits) |
|
|
MUSC 118-04
–
|
|
|
River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire. *Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits) |
|
|
MUSC 184-1
Kerfala Bangoura
|
|
|
Sansifanyi is an ensemble that provides various performance opportunities both on and off-campus for intermediate and advanced students of African dance & drumming. Instructor Kerfala Bangoura trains ensemble members in a performance style that integrates dance, drumming, vocal song, and narrative elements. Dancers who enroll in Sansifanyi will learn choreographic techniques for West African dance and gain experience dancing as soloists. Dancers will also learn focus on rhythmic timing and on drumming while dancing. Drummers enrolled in Sansifanyi will learn extended percussion arrangements and techniques for accompanying choreography. They will also learn how to play the breaks required of lead drummers. Prerequisites: Audition on First day of class OR for Drummers one of the following: MUR168A, MUR168B, MUR146. For Dancers of the following: DAN181&182, DAN 283, DAN 253, DAN 285. Email kerfala.bangoura@rochester.edu with questions. |
|
| Wednesday | |
|
MUSC 141-3
Sarah Smith
|
|
|
Provides an introduction to the science and technology of audio. Students will learn about the vibration of strings, musical tuning systems, overtones and timbre, modes of oscillation through the concept of a guitar. Fourier analysis, transducers and passive electrical components and circuits will be introduced when discussing amps and audio components. Hands on projects introduce the fundamental concepts of electronics, including voltage, current, resistance and impedance, basic circuit analysis, ac circuits, impedance matching, and analog signals. The course then introduces basic digital signal processing concepts, where they will use Arduinos and Pure Data to learn about conversion of sound to digital format, frequency analysis, digital filtering and signal processing and musical sound synthesis. This course is recommended as an introduction to the Audio and Music Engineering major but is accessible to students of music or other non-technical disciplines who wish to learn the fundamentals of music technology. |
|
|
MUSC 141-2
Sarah Smith
|
|
|
Provides an introduction to the science and technology of audio. Students will learn about the vibration of strings, musical tuning systems, overtones and timbre, modes of oscillation through the concept of a guitar. Fourier analysis, transducers and passive electrical components and circuits will be introduced when discussing amps and audio components. Hands on projects introduce the fundamental concepts of electronics, including voltage, current, resistance and impedance, basic circuit analysis, ac circuits, impedance matching, and analog signals. The course then introduces basic digital signal processing concepts, where they will use Arduinos and Pure Data to learn about conversion of sound to digital format, frequency analysis, digital filtering and signal processing and musical sound synthesis. This course is recommended as an introduction to the Audio and Music Engineering major but is accessible to students of music or other non-technical disciplines who wish to learn the fundamentals of music technology. |
|
|
MUSC 160-1
Julie Covach
|
|
|
A mixed ensemble of voices that performs a wide variety of choral repertoire for large chorus, including regular performances with orchestra. An informalvoicing is required for all potential members; students must demonstrate the ability to sing in tune and read music. Prerequisite: Auditions are held each semester |
|
| Thursday | |
|
MUSC 163-01
Zachary Peterson
|
|
|
Musical Theatre Skills is a course designed to provide intensive practical experience with both scene-and-song work in the American Musical Theatre repertoire. Students will receive weekly coaching and rehearsal, with emphasis on characterization, acting and singing skills, and idiomatic performance practice. While this course has multiple readings and writing assignments, emphasis is on performance preparation. This course may culminate in a public showing of work studied over the course of the semester. Previous musical theatre experience is preferred, but not required. |
|
|
MUSC 192-3
Stephen Roessner
|
|
|
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. |
|
|
MUSC 157-1
Bill Tiberio
|
|
|
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) |
|
|
MUSC 183-01
–
|
|
|
Intro to Classical Guitar will introduce students to rudiments of classical guitar technique, including tuning, basic posture and position, chord formation, note reading, and introduction to repertoire. Basic ensemble techniques will be incorporated into class sessions. By the end of the semester, students will be able to: Individually perform beginning classical guitar repertoire, accompany songs with arpeggiated technique, sight-read assigned music selections, using standard music notation. **GUITARS ARE NOT SUPPLIED** |
|
|
MUSC 150-1
Philip Silvey
|
|
|
Participants in the Treble Chorus form a vocal ensemble of high-voiced singers from across the university community. They explore history and cultures by studying diverse repertoire, sharing their understandings in concert performances scheduled throughout the semester. They also have the opportunity to cultivate healthy vocal production and musicianship skills. To join, simply register for the class. The instructor will arrange voice part hearings during the first week of classes. |
|
|
MUSC 170-1
Bill Tiberio
|
|
|
Brass Choir is a 15-20 member ensemble dedicated to performing quality brass music at a high level while fostering a spirit of community among brass players on the RC. Open to experienced trumpet, horn, trombone, euphonium, and tuba players. |
|
|
MUSC 181-1
–
|
|
|
This is an introductory guitar class that will teach guitar fundamentals and get students playing popular, rock, blues, classical, and simple jazz tunes by the end of the semester. This course is open to all guitar enthusiasts as well as music majors/minors seeking a 'methods class' approach to learning the instrument. Electric and acoustic guitars welcome. TA led organized practice sessions TBA. **GUITARS ARE NOT SUPPLIED*** |
|
| Friday | |
|
MUSC 141-4
Sarah Smith
|
|
|
Provides an introduction to the science and technology of audio. Students will learn about the vibration of strings, musical tuning systems, overtones and timbre, modes of oscillation through the concept of a guitar. Fourier analysis, transducers and passive electrical components and circuits will be introduced when discussing amps and audio components. Hands on projects introduce the fundamental concepts of electronics, including voltage, current, resistance and impedance, basic circuit analysis, ac circuits, impedance matching, and analog signals. The course then introduces basic digital signal processing concepts, where they will use Arduinos and Pure Data to learn about conversion of sound to digital format, frequency analysis, digital filtering and signal processing and musical sound synthesis. This course is recommended as an introduction to the Audio and Music Engineering major but is accessible to students of music or other non-technical disciplines who wish to learn the fundamentals of music technology. |
|
|
MUSC 223-02
Jacquelyn Sholes
|
|
|
The history of western art music from approximately 1800-present, with an emphasis on analysis of the masterpieces of tonal music and their relationship to society and other arts. Lectures with extensive listening, reading, and analysis. |
|
|
MUSC 221-02
Honey Meconi
|
|
|
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. |
|
| Saturday | |
|
MUSC 159-1
I Suadin
|
|
|
The Eastman Gamelan performs traditional ceremonial music and new-style music (keybar) from Bali and also new compositions for Gamelan. (Fall and Spring) (1 credit) |
|