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.
Spring 2023
Number | Title | Instructor | Time |
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MUSC 101-1
Naomi Gregory
MW 9:00AM - 10:15AM
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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.
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MUSC 104-1
Doris Aman
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Private carillon instruction, weekly 30-minute lessons or the equivalent. By audition only. Permission of instructor required. |
MUSC 109-1
Naomi Gregory
TR 2:00PM - 2:50PM
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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.
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MUSC 109-2
Naomi Gregory
TR 3:25PM - 4:15PM
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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.
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MUSC 110-1
Jason Titus
MW 10:25AM - 11:40AM
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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.
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MUSC 112-1
Matthew BaileyShea
MW 2:00PM - 3:15PM
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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)
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MUSC 112-2
Jason Titus
TR 12:30PM - 1:45PM
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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)
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MUSC 112-3
Jason Titus
TR 11:05AM - 12:20PM
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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)
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MUSC 112-4
Jacquelyn Sholes
TR 12:30PM - 1:45PM
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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)
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MUSC 112-6
Bruce Frank
MW 2:00PM - 3:15PM
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This course focuses on the same broad topics as MUR 111, and draws from a similarly varied repertoire, but introduces more complex concepts, including chromatic harmony and scales, advanced formal analysis, key changes, elaborate rhythmic and metric patterns, and intricate textural layering. Prerequisite: MUR 111. (Spring only) This course focuses on the same broad topics as MUR 111, and draws from a similarly varied repertoire, but introduces more complex concepts, including chromatic harmony and scales, advanced formal analysis, key changes, elaborate rhythmic and metric patterns, and intricate textural layering. Prerequisite: MUR 111. (Spring only)
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MUSC 113-1
Christopher Meeker
MW 9:00AM - 9:50AM
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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)
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MUSC 113-2
Christopher Meeker
MW 10:00AM - 10:50AM
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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)
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MUSC 114-1
Christopher Meeker
TR 10:00AM - 10:50AM
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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)
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MUSC 114-2
Christopher Meeker
TR 11:00AM - 11:50AM
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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)
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MUSC 115-1
Christopher Meeker
MW 11:00AM - 11:50AM
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Continuation of MUSC 114 with greater emphasis on chromaticism and aural analysis. (1 credit) Prerequisite: MUSC 114.
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MUSC 116-1
Bruce Frank
MW 9:00AM - 9:50AM
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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)
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MUSC 117-1
Bruce Frank
MW 11:50AM - 12:40PM
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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)
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MUSC 119-1
Alex Lo
MW 6:35PM - 7:25PM
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MUSC 119 is a continuation of MUSC 118 (taken in the Fall term). MUSC 118 is the pre-requisite for MUSC 119. MUSC 119 is not a course for beginners, nor is it at a beginning level.
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MUSC 119-2
Xu Guo
MW 6:35PM - 7:25PM
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MUSC 119 is a continuation of MUSC 118 (taken in the Fall term). MUSC 118 is the pre-requisite for MUSC 119. MUSC 119 is not a course for beginners, nor is it at a beginning level.
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MUSC 119-4
Alex Lo
TR 6:35PM - 7:25PM
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MUSC 119 is a continuation of MUSC 118 (taken in the Fall term). MUSC 118 is the pre-requisite for MUSC 119. MUSC 119 is not a course for beginners, nor is it at a beginning level.
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MUSC 119-5
; Alex Lo
TR 5:35PM - 6:25PM
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MUSC 119 is a continuation of MUSC 118 (taken in the Fall term). MUSC 118 is the pre-requisite for MUSC 119. MUSC 119 is not a course for beginners, nor is it at a beginning level.
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MUSC 122-1
Sofia Scattarreggia
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Voice class for River Campus students instructed by an Eastman faculty member. |
MUSC 127A-1
Cory Hunter
MW 12:30PM - 1:45PM
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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.
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MUSC 128-1
Jacquelyn Sholes
TR 2:00PM - 3:15PM
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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.
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MUSC 129-1
John Covach
MW 2:00PM - 3:15PM
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The music of the Rolling Stones is examined, starting with the earliest music from 1962 and extending to the early 1970s. Emphasis will be on the band's stylistic development, as well as on the British blues movement of the early to mid 1960s. The music of other blues-based British groups, including Blues Incorporated, the Yardbirds, the Animals, the Bluesbreakers, Cream, and Led Zeppelin, will also be considered. No previous training or ability to read music is required.
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MUSC 132-1
Bruce Pilato
T 5:00PM - 7:00PM
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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. ** NOTE: This is a 6 week course** Spring 2023 course dates will be posted by the instructor.
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MUSC 134-1
Naomi Gregory
MW 11:50AM - 1:05PM
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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.
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MUSC 136-1
Honey Meconi
MW 10:25AM - 11:40AM
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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.
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MUSC 139-1
Cory Hunter
MW 10:25AM - 11:40AM
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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 centuryblues, jazz, gospel, soul, funk, hip hop, etcand will study how religion has influenced performance style, lyrical content, vocality, melodic and harmonic contour, among a host of other factors.
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MUSC 143-1
Rachel Waddell
MW 2:00PM - 3:15PM
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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.
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MUSC 152-1
Julie Covach
TR 4:50PM - 6:05PM
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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.
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MUSC 153-1
Rachel Waddell
T 7:30PM - 10:00PM
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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.
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MUSC 154-1
Rachel Waddell
W 4:50PM - 7:30PM
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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.
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MUSC 155-1
Jennifer Carpenter
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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
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Wind Symphony draws its membership primarily from the student body on River Campus and performs music of various styles, genres, and eras. Membership by audition. Coursework: One rehearsal per week; individual practice. At least four concerts per academic year. Attendance required at all rehearsals, dress rehearsals, and concerts, unless excused in advance by conductor.
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MUSC 157-1
Bill Tiberio
TR 4:50PM - 6:05PM
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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)
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MUSC 157A-1
Bill Tiberio
U 3:30PM - 7:30PM
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Small group playing of selections from the jazz repertoire, with an emphasis on improvisation. Admission is by permission of instructor only. (1 credit)
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MUSC 158-1
Julius Dicks
T 7:00PM - 8:15PM
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One rehearsal per week. Two concerts per semester. In addition, there may be off-campus performances in local colleges, churches, and other venues in the greater-Rochester community. The Gospel Choir performs a varied repertoire of sacred music -- spirituals, hymns, traditional and contemporary Gospel, music of the praise-and-worship genre. (Fall and Spring) (1 credit)
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MUSC 160-1
Julie Covach
W 4:50PM - 6:40PM
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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.
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MUSC 162-1
Elise Piazza
MW 9:00AM - 10:15AM
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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.
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MUSC 163-1
Zachary Peterson
R 2:00PM - 4:40PM
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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 a few 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. Permission of instructor (by audition). Previous musical theatre experience is preferred, but not required.
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MUSC 164-1
John Hasselback
T 3:35PM - 5:25PM
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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.
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MUSC 168A-1
Kerfala Bangoura
MW 6:15PM - 7:30PM
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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 dru 215-2ms 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.
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MUSC 170-1
Bill Tiberio
R 6:15PM - 7:15PM
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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.
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MUSC 171-1
Andrew Cashner
TR 11:05AM - 12:20PM
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Arranging is a key skill in any practicing musician's toolbox. Whether you are reworking an existing song for an a capella or theater group, producing a recording of an original song, or adapting music to fit the practical needs of an amateur ensemble, this class can help you craft effective and appealing arrangements. Students will develop and workshop their own projects with the class while we learn from examples by today's pop and Broadway arrangers, as well as past masters of arrangement including Bach, Mozart, and Liszt. With an emphasis on simple solutions that work for performers of varying skill levels, the course will show you how to bring out the best in the source music while presenting the performing ensemble in its best light. Prequisite: Basic ability to read music and to sing or play an instrument.
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MUSC 180-1
John Covach
T 4:00PM - 7:00PM
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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.
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MUSC 181-1
Gerardo Miranda Martinez
R 6:30PM - 7:30PM
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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** TA led organized practice sessions TBA
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MUSC 184-1
Kerfala Bangoura
TR 7:00PM - 8:15PM
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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.
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MUSC 191-1
Stephen Roessner
TR 2:00PM - 3:15PM
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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.
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MUSC 191-2
Stephen Roessner
T 4:50PM - 6:05PM
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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.
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MUSC 191-3
Stephen Roessner
T 6:15PM - 7:30PM
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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.
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MUSC 191-4
Stephen Roessner
T 7:40PM - 8:55PM
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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.
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MUSC 192-1
Stephen Roessner
TR 9:40AM - 10:55AM
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This course builds on knowledge gained in AME191. Fundamental topics covered include Advanced Mixing and Mastering Techniques, Drum Replacement, Impulse Responses and Reverb, Advanced Concepts of Signal Processing, Analog Tape Recording, Music Business Ethics and Taxes, and Hybrid Analog/Digital Mixing Techniques. Emphasis is on the development of critical listening skills through ear training exercises and active listening assignments. These drills will develop your ability to hear width and depth in audio, mixing techniques in various musical genres, specific instruments used in a recording, and recognition of various effects including reverb, delay, compression, phasing and distortion. 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. Prerequisites: AME 191 INSTRUCTOR PERMISSION ONLY.
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MUSC 192-2
Stephen Roessner
T 3:25PM - 4:40PM
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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.
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MUSC 192-3
Stephen Roessner
R 3:25PM - 4:40PM
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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.
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MUSC 193-1
Robert LaVaque
TR 3:25PM - 4:40PM
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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 project at the conclusion of the course. Instructor’s permission required: Please provide your class year and major/minor.
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MUSC 194-1
Robert LaVaque
TR 6:15PM - 7:30PM
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This course is intended to provide students with an understanding of the process and the skills for creating MUSIC for picture. The course emphasizes hands-on experience where students gain practical knowledge in scoring to picture using provided DAWs and Virtual Instruments. It features guest lectures by professional composers in the fields of TV, Film, Advertising, Gaming, and Animation, providing real world style assignments along with individual feedback for each student. Topics also include MIDI, creating drumbeats, music analysis and emulation, soft synthesizers, samplers, virtual instruments, recording and editing with Logic Pro, and working to picture. Students will complete numerous projects throughout the course. Prerequisites: AME 193, or a solid working knowledge of either Pro Tools or Logic Pro. Strong musical ability, basic keyboard proficiency.
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MUSC 202-1
Andrew Watkins-Alcocer
TR 6:15PM - 7:30PM
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Continuation of MUSC 201.
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MUSC 204-1
Doris Aman
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Private carillon instruction, weekly 60-minute lessons. By audition only. Permission of instructor required. |
MUSC 207-1
Honey Meconi
MW 12:30PM - 1:45PM
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This course explores the life and times of Hildegard of Bingen (1098–1179), who was a noted theologian, a major composer and poet, a leader in early scientific and medical writing, the creator of an imaginary language and a new alphabet, a figure in the political life of the twelfth century and the rise of German nationalism in the nineteenth, a possible artist of astonishing iconography, and the only musician to be recognized as both a saint and a Doctor of the Church by the Catholic Church. The class will examine her many remarkable creations in multiple areas in the context of twelfth-century German history and culture, her reception throughout the more than 800 years since her death, and her role today in popular culture. No prerequisites. 4 credits.
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MUSC 212C-1
Bruce Frank
MW 10:25AM - 11:40AM
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Explores the theoretical and aesthetic principles of twentieth-century music, especially in relation to earlier compositional procedures. Introduces basic post-tonal theory, including set-class analysis, transformational theory, and serial techniques.
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MUSC 222-1
Andrew Cashner
TR 2:00PM - 3:15PM
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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.
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MUSC 222-2
Andrew Cashner
F 3:00PM - 3:50PM
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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.
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MUSC 236-1
Jennifer Kyker
TR 12:30PM - 1:45PM
|
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.
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MUSC 395-1
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Registration for Independent Study courses needs to be completed thru the instructions for online independent study registration. |
MUSC 436-1
Jennifer Kyker
TR 12:30PM - 1:45PM
|
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.
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MUSC 468-1
Kerfala Bangoura
MW 6:15PM - 7:30PM
|
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.
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MUSC 150-1
Philip Silvey
R 6:45PM - 8:45PM
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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. Spring 2022 location will be the Ray Wright Room on the ESM campus.
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MUSC 165-1
Glenn West
M 6:30PM - 8:00PM
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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.**
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MUSC 183-1
Gerardo Miranda Martinez
M 5:15PM - 6:15PM
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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***
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MUSC 183-2
Fredrik Jernberg
R 5:15PM - 6:15PM
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Intro to Classical Guitar: Intro to Classical Guitar will introduce students to rudiments of classical guitar technique, including tuning, basic posture and position, chord formation, note reading, and introduction to repertoire. Basic ensemble techniques will be incorporated into class sessions.By the end of the semester, students will be able to:- Individually perform beginning classical guitar repertoire- Accompany songs with arpeggiated technique- Sight-read assigned music selections, using standard music notation**GUITARS ARE NOT SUPPLIED***
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Spring 2023
Number | Title | Instructor | Time |
---|---|
Monday | |
MUSC 183-1
Gerardo Miranda Martinez
|
|
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
Glenn West
|
|
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.** |
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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. |
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Monday and Wednesday | |
MUSC 101-1
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. |
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MUSC 113-1
Christopher Meeker
|
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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) |
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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) |
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MUSC 162-1
Elise Piazza
|
|
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. |
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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) |
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MUSC 110-1
Jason Titus
|
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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. |
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MUSC 136-1
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. |
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MUSC 139-1
Cory Hunter
|
|
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 centuryblues, jazz, gospel, soul, funk, hip hop, etcand will study how religion has influenced performance style, lyrical content, vocality, melodic and harmonic contour, among a host of other factors. |
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MUSC 212C-1
Bruce Frank
|
|
Explores the theoretical and aesthetic principles of twentieth-century music, especially in relation to earlier compositional procedures. Introduces basic post-tonal theory, including set-class analysis, transformational theory, and serial techniques. |
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MUSC 115-1
Christopher Meeker
|
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Continuation of MUSC 114 with greater emphasis on chromaticism and aural analysis. (1 credit) Prerequisite: MUSC 114. |
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MUSC 117-1
Bruce Frank
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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) |
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MUSC 134-1
Naomi Gregory
|
|
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. |
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MUSC 127A-1
Cory Hunter
|
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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. |
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MUSC 207-1
Honey Meconi
|
|
This course explores the life and times of Hildegard of Bingen (1098–1179), who was a noted theologian, a major composer and poet, a leader in early scientific and medical writing, the creator of an imaginary language and a new alphabet, a figure in the political life of the twelfth century and the rise of German nationalism in the nineteenth, a possible artist of astonishing iconography, and the only musician to be recognized as both a saint and a Doctor of the Church by the Catholic Church. The class will examine her many remarkable creations in multiple areas in the context of twelfth-century German history and culture, her reception throughout the more than 800 years since her death, and her role today in popular culture. No prerequisites. 4 credits. |
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MUSC 112-1
Matthew BaileyShea
|
|
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) |
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MUSC 112-6
Bruce Frank
|
|
This course focuses on the same broad topics as MUR 111, and draws from a similarly varied repertoire, but introduces more complex concepts, including chromatic harmony and scales, advanced formal analysis, key changes, elaborate rhythmic and metric patterns, and intricate textural layering. Prerequisite: MUR 111. (Spring only) This course focuses on the same broad topics as MUR 111, and draws from a similarly varied repertoire, but introduces more complex concepts, including chromatic harmony and scales, advanced formal analysis, key changes, elaborate rhythmic and metric patterns, and intricate textural layering. Prerequisite: MUR 111. (Spring only) |
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MUSC 129-1
John Covach
|
|
The music of the Rolling Stones is examined, starting with the earliest music from 1962 and extending to the early 1970s. Emphasis will be on the band's stylistic development, as well as on the British blues movement of the early to mid 1960s. The music of other blues-based British groups, including Blues Incorporated, the Yardbirds, the Animals, the Bluesbreakers, Cream, and Led Zeppelin, will also be considered. No previous training or ability to read music is required. |
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MUSC 143-1
Rachel Waddell
|
|
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. |
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MUSC 168A-1
Kerfala Bangoura
|
|
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 dru 215-2ms 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. |
|
MUSC 468-1
Kerfala Bangoura
|
|
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. |
|
MUSC 119-1
Alex Lo
|
|
MUSC 119 is a continuation of MUSC 118 (taken in the Fall term). MUSC 118 is the pre-requisite for MUSC 119. MUSC 119 is not a course for beginners, nor is it at a beginning level. |
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MUSC 119-2
Xu Guo
|
|
MUSC 119 is a continuation of MUSC 118 (taken in the Fall term). MUSC 118 is the pre-requisite for MUSC 119. MUSC 119 is not a course for beginners, nor is it at a beginning level. |
|
Tuesday | |
MUSC 192-2
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
John Hasselback
|
|
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. |
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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. |
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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. |
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MUSC 132-1
Bruce Pilato
|
|
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. ** NOTE: This is a 6 week course** Spring 2023 course dates will be posted 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. |
|
MUSC 158-1
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
Rachel Waddell
|
|
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. |
|
Tuesday and Thursday | |
MUSC 192-1
Stephen Roessner
|
|
This course builds on knowledge gained in AME191. Fundamental topics covered include Advanced Mixing and Mastering Techniques, Drum Replacement, Impulse Responses and Reverb, Advanced Concepts of Signal Processing, Analog Tape Recording, Music Business Ethics and Taxes, and Hybrid Analog/Digital Mixing Techniques. Emphasis is on the development of critical listening skills through ear training exercises and active listening assignments. These drills will develop your ability to hear width and depth in audio, mixing techniques in various musical genres, specific instruments used in a recording, and recognition of various effects including reverb, delay, compression, phasing and distortion. 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. Prerequisites: AME 191 INSTRUCTOR PERMISSION ONLY. |
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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. (1 credit) |
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MUSC 114-2
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. (1 credit) |
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MUSC 112-3
Jason Titus
|
|
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) |
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MUSC 171-1
Andrew Cashner
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|
Arranging is a key skill in any practicing musician's toolbox. Whether you are reworking an existing song for an a capella or theater group, producing a recording of an original song, or adapting music to fit the practical needs of an amateur ensemble, this class can help you craft effective and appealing arrangements. Students will develop and workshop their own projects with the class while we learn from examples by today's pop and Broadway arrangers, as well as past masters of arrangement including Bach, Mozart, and Liszt. With an emphasis on simple solutions that work for performers of varying skill levels, the course will show you how to bring out the best in the source music while presenting the performing ensemble in its best light. Prequisite: Basic ability to read music and to sing or play an instrument. |
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MUSC 112-2
Jason Titus
|
|
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) |
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MUSC 112-4
Jacquelyn Sholes
|
|
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) |
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MUSC 236-1
Jennifer Kyker
|
|
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. |
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MUSC 436-1
Jennifer Kyker
|
|
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. |
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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. |
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MUSC 128-1
Jacquelyn Sholes
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|
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. |
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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. |
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MUSC 222-1
Andrew Cashner
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|
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. |
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MUSC 109-2
Naomi Gregory
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|
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. |
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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 project at the conclusion of the course. Instructor’s permission required: Please provide your class year and major/minor. |
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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. |
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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) |
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MUSC 119-5
; Alex Lo
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|
MUSC 119 is a continuation of MUSC 118 (taken in the Fall term). MUSC 118 is the pre-requisite for MUSC 119. MUSC 119 is not a course for beginners, nor is it at a beginning level. |
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MUSC 194-1
Robert LaVaque
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This course is intended to provide students with an understanding of the process and the skills for creating MUSIC for picture. The course emphasizes hands-on experience where students gain practical knowledge in scoring to picture using provided DAWs and Virtual Instruments. It features guest lectures by professional composers in the fields of TV, Film, Advertising, Gaming, and Animation, providing real world style assignments along with individual feedback for each student. Topics also include MIDI, creating drumbeats, music analysis and emulation, soft synthesizers, samplers, virtual instruments, recording and editing with Logic Pro, and working to picture. Students will complete numerous projects throughout the course. Prerequisites: AME 193, or a solid working knowledge of either Pro Tools or Logic Pro. Strong musical ability, basic keyboard proficiency. |
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MUSC 202-1
Andrew Watkins-Alcocer
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Continuation of MUSC 201. |
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MUSC 119-4
Alex Lo
|
|
MUSC 119 is a continuation of MUSC 118 (taken in the Fall term). MUSC 118 is the pre-requisite for MUSC 119. MUSC 119 is not a course for beginners, nor is it at a beginning level. |
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MUSC 184-1
Kerfala Bangoura
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|
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. |
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Wednesday | |
MUSC 154-1
Rachel Waddell
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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. |
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MUSC 160-1
Julie Covach
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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. |
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Thursday | |
MUSC 163-1
Zachary Peterson
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|
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 a few 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. Permission of instructor (by audition). Previous musical theatre experience is preferred, but not required. |
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MUSC 192-3
Stephen Roessner
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|
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. |
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MUSC 183-2
Fredrik Jernberg
|
|
Intro to Classical Guitar: Intro to Classical Guitar will introduce students to rudiments of classical guitar technique, including tuning, basic posture and position, chord formation, note reading, and introduction to repertoire. Basic ensemble techniques will be incorporated into class sessions.By the end of the semester, students will be able to:- Individually perform beginning classical guitar repertoire- Accompany songs with arpeggiated technique- Sight-read assigned music selections, using standard music notation**GUITARS ARE NOT SUPPLIED*** |
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MUSC 170-1
Bill Tiberio
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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. |
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MUSC 181-1
Gerardo Miranda Martinez
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|
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** TA led organized practice sessions TBA |
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MUSC 150-1
Philip Silvey
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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. Spring 2022 location will be the Ray Wright Room on the ESM campus. |
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MUSC 222-2
Andrew Cashner
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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. |