A course for the student with no previous musical experience. Topics covered include notation, intervals, chords, and other basic concepts of tonal harmony, with application to the study of a wide range of styles including popular idioms. Students should not be able to read music. Students who complete MUSC 110 may NOT enroll in MUSC 101, credit will NOT be given for both.

Location

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

Private carillon instruction, weekly 30-minute lessons or the equivalent.

By audition only. Permission of instructor required.

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.

Location

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

Introduces students to basic musicianship skills. Begins with exercises in pitch matching and basic interval recognition and progresses toward other skills, such as singing simple melodies at sight, sight-reading various rhythmic patterns, and dictating simple melodies and chord progressions. Prospective music majors, especially those with prior singing experience, typically skip this course and begin with MUR 113.

Location

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

Basic concepts of music theory, addressing students with some musical experience in an instrument or voice, but little or no music theory. Scales, keys, intervals, chords, basic part-writing, and other fundamental aspects of musical structure. Some ear training and aural skills. Prerequisite: The ability to read music, preferably in both treble and bass clefs. Students who have completed MUR 101 may NOT register for MUR 110, credit will NOT be given for both.

Location

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

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

Location

Dewey Room 1305 (TR 12:30PM - 1:45PM)

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

Location

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

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

Location

(TR 11:05AM - 12:20PM)

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

Location

Wegmans Room 1400 (MW 2:00PM - 3:15PM)

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

Location

Dewey Room 1305 (MW 12:30PM - 1:45PM)

This course develops basic musicianship skills with an emphasis of diatonic sight-singing, rhythmic sight-reading, and dictation of diatonic melodies and chord progressions. The exercises and in-class activities are similar to MUSC 109 but at a more advanced level. (1 credit)

Location

(MW 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)

Location

(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. (1 credit)

Location

(TR 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. (1 credit)

Location

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

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

Location

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

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)

Location

Dewey Room B349 (MW 9:00AM - 9:50AM)

Continuation of MUSC 116. Students completing this course fulfill the piano proficiency for the music major.

Prerequisite: MUSC 116 or permission of instructor. (2 credits)

Location

Dewey Room B349 (MW 11:50AM - 12:40PM)

River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire.

*Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits)

Location

Eastman School Of Music Room 443 (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)

Location

Eastman School Of Music Room 443 (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)

Location

Eastman School Of Music Room 443 (MW 6:35PM - 7:25PM)

This course will trace the history of music in film from the inception of silent motion pictures in the late 19th century to present-day productions. Will consider how the aural and visual aspects of the medium interact dramatically and how the music can enhance or otherwise influence interpretation of what is happening on the screen.

Location

Online Room 16 (ASE) (TR 2:00PM - 3:15PM)

This course focuses on protest music in America during the 20th and 21st centuries. We will examine how music has been used throughout American history to articulate the social and political concerns of Americans. As we examine genres such as folk music, the blues, punk, rock ’n roll, hip hop, and funk, we will focus on how artists within each genre musically and verbally expressed the existential realities facing American culture. We will also look closely at specific social movements and political events - such as the labor movement, the civil rights movement, the Vietnam war, women's liberation, LGBTQ activism, and the Black Lives Matter Movement, among others - to understand how the music in each era impacted, and was impacted by, the American sociocultural milieu. 

Location

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

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

Location

Dewey Room B315 (T 5:00PM - 7:00PM)

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

Location

Lechase Room 103 (W 2:00PM - 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: MUR 112 or permission of instructor.

Location

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

This course explores the changing functions and meanings of music in Christian worship practices, from the first-century house churches to contemporary megachurches. We will see how Christians developed music and ritual to embody their beliefs and structure their communities. We will listen closely to music ranging from Gregorian chant and liturgical music of Palestrina, Bach, and Mozart to Protestant hymns and psalms and contemporary evangelical worship music. The course will equip students to understand how people have used music to create relationships with God and with each other.

Rather than presenting worship as a single, unchanging tradition or elevating one type of liturgy above all others, this course focuses on different Christian communities' creative responses to times of crisis, including the COVID-19 pandemic. The course will emphasize Christianity's global dimensions, with special emphasis on the problems of intercultural missions and colonization and the contributions of women and people of color.

The instructor is both a musicologist specializing in Christian worship and a practicing worship leader. No musical training or knowledge is required, nor is religious background or belief.

Location

Online Room 30 (ASE) (TR 9:40AM - 10:55AM)

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

Location

Online Room 9 (ASE) (MW 10:25AM - 11:40AM)

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

Location

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

Course will take place from 5 :15-7:45 p.m. as scheduled. MUSC 150 instructor will give more detail during the semester.

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.

Location

Wegmans Room 1400 (R 5:00PM - 8:15PM)

A small mixed ensemble of 16 to 20 voices that performs a wide variety of choral repertoire from the Renaissance to the present.

By audition only. Auditions are held each semester.

Location

Hutchison Hall Room 140 (TR 4:50PM - 6:05PM)

URSO (Symphony Orchestra) is a university-civic orchestra whose members are selected from both UR student body and greater Rochester community. Membership through auditions, occurs prior to the first rehearsal of each season. Other auditions may be held as needed throughout the season.

Location

Strong Auditorium Room 116 (T 7:30PM - 10:00PM)

URCO (Chamber Orchestra) Membership is limited and is granted by the music director through competitive auditions, which occur prior to the first scheduled rehearsal of each season. Auditions may be held as needed during the academic year.

Location

Strong Auditorium Room 116 (M 4:50PM - 6:00PM)

Strong Auditorium Room 116 (W 4:50PM - 7:00PM)

The chamber music program facilitates formation and coaching of serious advanced chamber ensembles. One academic credit may be earned by registering and successfully completing all requirements listed under course work. Admission by permission of the coordinator. Participation will not count toward fulfillment of the ensemble requirement.

Wind Symphony draws its membership primarily from the student body on River Campus and performs music of various styles, genres, and eras. Membership by audition. Coursework: One rehearsal per week; individual practice. At least four concerts per academic year. Attendance required at all rehearsals, dress rehearsals, and concerts, unless excused in advance by conductor.

Location

Strong Auditorium Room 116 (M 7:30PM - 10:00PM)

The Jazz Ensemble is open by audition to all U of R community, and performing a wide variety of music. Occasional guests artists and clinicians. (Fall and Spring) (1 credit)

Location

Strong Auditorium Room 116 (TR 5:00PM - 6:30PM)

One rehearsal per week. Two concerts per semester. In addition, there may be off-campus performances in local colleges, churches, and other venues in the greater-Rochester community. The Gospel Choir performs a varied repertoire of sacred music -- spirituals, hymns, traditional and contemporary Gospel, music of the praise-and-worship genre. (Fall and Spring) (1 credit)

Location

Hutchison Hall Room 140 (T 7:40PM - 8:55PM)

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.

Location

Strong Auditorium Room 011 (W 4:40PM - 6:30PM)

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.

Prerequisite: 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.

Location

Online Room 19 (ASE) (MW 9:00AM - 10:15AM)

The Eastman Mbira Ensemble provides a hands-on introduction to the ancient and sophisticated musical tradition of the Shona mbira of Zimbabwe. Visiting Zimbabwean guest artists will also offer students the opportunity to delve more deeply into traditional musical practices and their cultural and spiritual context. Songs are taught aurally so no musical experience or training is required. **Participation will not count toward fulfillment of the ensemble requirement.**

Location

Online Room 5 (ESM) (M 6:30PM - 8:00PM)

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 Guine 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.

Location

Strong Auditorium Room 011 (W 7:30PM - 9:00PM)

Brass Choir is a 15-20 member ensemble dedicated to performing quality brass music at a high level while fostering a spirit of community among brass players on the RC. Open to experienced trumpet, horn, trombone, euphonium, and tuba players.

Location

Strong Auditorium Room 011 (R 6:15PM - 7:15PM)

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.

Location

Strong Auditorium Room 011 (T 4:00PM - 7:00PM)

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. **GUITARS ARE NOT SUPPLIED**

Contact Andrew Gomez-Ramirez at agomezra@u.Rochester.edu with any questions.

TA led organized practice sessions TBA

Location

Dewey Room 1305 (T 6:30PM - 7:30PM)

Intro to Classical Guitar will introduce students to rudiments of classical guitar technique, including tuning, basic posture and position, chord formation, note reading, and introduction to repertoire. Basic ensemble techniques will be incorporated into class sessions. By the end of the semester, students will be able to: Individually perform beginning classical guitar repertoire - Accompany songs with arpeggiated technique - Sight-read assigned music selections, using standard music notation. **GUITARS ARE NOT SUPPLIED***

Contact Marcus Kramer at mkramer7@u.Rochester.edu with any questions.

Location

Dewey Room 1305 (W 6:15PM - 7:30PM)

Sansifanyi is an ensemble that provides various performance opportunities both on and off-campus for intermediate and advanced students of African dance & drumming. Instructor Kerfala Bangoura trains ensemble members in a performance style that integrates dance, drumming, vocal song, and narrative elements. Dancers who enroll in Sansifanyi will learn choreographic techniques for West African dance and gain experience dancing as soloists. Dancers will also learn focus on rhythmic timing and on drumming while dancing. Drummers enrolled in Sansifanyi will learn extended percussion arrangements and techniques for accompanying choreography. They will also learn how to play the breaks required of lead drummers. Prerequisites: One of the following: DANC181 & 182, DANC 283, DANC 253, DANC 285. For Drummers one of the following: MUSC 168A, MUSC 168B, MUSC 146 OR to audition, email kerfala.bangoura@gmail.com. 

Location

Spurrier Gymnasium Room 104 (R 6:45PM - 8:15PM)

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.

Prerequisites: INSTRUCTOR PERMISSION ONLY.

Location

Online Room 30 (ASE) (TR 2:00PM - 3:15PM)

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.

Location

Rettner Hall Room 303 (T 5:00PM - 6:00PM)

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.

Location

Rettner Hall Room 303 (T 6:00PM - 7:00PM)

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.

Location

Rettner Hall Room 303 (T 7:00PM - 8:00PM)

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

Location

Gavett Hall Room 305 (F 10:00AM - 11:00AM)

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

Location

Gavett Hall Room 305 (F 11:25AM - 12:30PM)

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. Prerequisites: AME 191

Location

Gavett Hall Room 305 (TR 9:40AM - 10:55AM)

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. Instructor’s permission required.

Location

Online Room 28 (ASE) (TR 3:25PM - 4:40PM)

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. Prerequisites: Strong musical ability, basic piano keyboard proficiency, AME 193 or familiarity with either Pro Tools, Logic Pro, or are highly recommended for this course. 

Location

Computer Studies Room 616 (TR 6:15PM - 7:30PM)

Continuation of MUR 201.

Location

Hutchison Hall Room 140 (MW 6:15PM - 7:30PM)

Private carillon instruction, weekly 60-minute lessons.

By audition only. Permission of instructor required.

This course looks at the role of counterpoint across various musical eras, from 1400 to the present day.  Using a combined theoretical and historical approach, students will have the opportunity to write their own music, informed by Renaissance and Baroque procedures.  Attention will be paid to analytical descriptions of counterpoint and its various expressions, especially fugue.  Composers studied will include Josquin, Lassus, Palestrina, Purcell, Bach, Handel, Haydn, Mozart, Beethoven, Schumann, Hindemith, Bartok, and Stravinsky.  The course is designed for any student with a strong interest in counterpoint and composition.

Location

Wegmans Room 1400 (MW 10:25AM - 11:40AM)

Survey of Western classical music from ca. 1600 to b1800, with emphasis on the stylistic, generic, and performance innovations of the period; opera receives special attention. Workshops investigate specific problems posed by notation, performance, ethics, and so on.

Location

(TR 2:00PM - 3:30PM)

Survey of Western classical music from ca. 1600 to b1800, with emphasis on the stylistic, generic, and performance innovations of the period; opera receives special attention. Workshops investigate specific problems posed by notation, performance, ethics, and so on.

Location

Dewey Room 1305 (F 3:00PM - 3:50PM)

Survey of Western classical music from ca. 1600 to b1800, with emphasis on the stylistic, generic, and performance innovations of the period; opera receives special attention. Workshops investigate specific problems posed by notation, performance, ethics, and so on.

Location

Dewey Room 1305 (F 2:00PM - 2:50PM)

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

Location

(MW 2:00PM - 4:00PM)

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

Location

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

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

Location

Online Room 19 (ASE) (TR 12:30PM - 1:45PM)

Registration for Independent Study courses needs to be completed thru the instructions for online independent study registration.

Registration for Independent Study courses needs to be completed thru the instructions for online independent study registration.

Registration for Independent Study courses needs to be completed thru the instructions for online independent study registration.

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

Location

Online Room 19 (ASE) (TR 12:30PM - 1:45PM)

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.

Location

Strong Auditorium Room 011 (W 7:30PM - 9:00PM)