Course Descriptions
Please note:
Courses with online syllabi are linked.
Not all courses are offered every year.
104 World Music.
This course explores the role of music in the fascinating cultures of Bali, Native North America, Africa, Ireland, India, and Japan. Students develop an appreciation of the rich and meaningful musical traditions the members of these cultures have developed and learn to interpret music and performance events using interdisciplinary methods. Working with musicians from the cultures represented, students learn to perform songs and instrumental music from Bali, Ireland, and Zimbabwe and perform a public recital of world music on authentic instruments. Students further enhance their musical skills through creative, analytical, and research projects. The course addresses both historic and new musical repertories, including popular music. No prior musical background is necessary. (Fulfills only one unit of the Social Science distribution requirement.) This course meets the ethnomusicology requirement for the music minor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) First-year students only. 2 units — Macy.
150 Music in Western Culture.
For the non-music major. This course will examine the socio-cultural influences on music from antiquity to modern times. The music of each period will be examined in terms of its stylistic characteristics, its performance practices and its function within the society. Selected genres, composers and musical form will be studied through directed listening sessions. Special attention will be given to the aesthetic ideas that shaped the music of each period. (Meets the Critical Perspectives: The West in Time requirement.) 2 units — Brink.
185 Great Hits in American Music: From Plymouth Rock to Rock.
This course will examine selected highpoints in American music and their cultural roots in American society. Both popular and classical music traditions will be studied with special attention given to the social and political circumstances in which they developed. In the first block, the emergence of innovative U.S. musical traditions in the19th Century (such as civil war songs, Sousa’s band music, the Boston School of the late 1800s, and Tin-Pan Alley) will be seen as the foundations for subsequent developments in jazz, musical theater, the nationalistic works of Ives, Copland and others, and the avant garde of the mid 20th Century. The second block will focus mostly on popular music of the 20th Century through the present, with special attention given to African American contributions; traditions including the blues, rock and roll, rhythm and blues, soul, funk, and hip hop will be examined in terms of their sound and style and relation to the music industry, technological developments, race and gender relations, and other cultural issues. One unit counts toward the CP:D requirement. First-year students only. 2 units. — Bhattacharjya and M. Grace
199 Pre-Theory.
Develops understanding of the basic elements of music through written and aural exercises and analysis. Rudiments of music theory involving melody, rhythm, and harmony. Concentration on notation and aural recognitions of rhythm and meter, key signatures, scales, and intervals; the construction and connection of basic triads and chords; basic keyboard and sight singing skills. Designed to assist students planning to take Theory I-IV or for students interested in gaining knowledge of the musician's basic materials and skills. Cannot be used as a credit toward the music major. Prerequisite: Consent of Instructor. 1 unit — Ben-Amots, Bhattacharjya.
200 Music @ the Computer.
Introduction to digital sound in all three categories of composition, orchestration and musical arrangement, with primary focus on Finale Notation Software. Work in the computer lab will explore a range of possibilities that combine digital samples, multimedia, and the Internet. Students will create their own orchestral arrangements and explore new combinations of sound and rhythm in an atmosphere of experimentation and discovery. Students will print, playback and record their own music. Prerequisite: Consent of instructor. 1 unit — Ben-Amots.
204 From Mozart to Mahler: A History of the Symphony.
No previous musical experience needed. An exploration of the development of the symphony, beginning with its inception as an amalgamation of various national characteristics in courtly circles during the middle of the 18th century. Haydn, Mozart, and Beethoven elaborated and transformed the genre as it moved into the 19th century, when it flourished as a dramatic vehicle for large public concerts during the great age of Romanticism. An analysis of the symphony's mid-to late-19th century manifestations will examine the continuity of its forms as well as the myriad innovations that eventually led both to the profound creations of Mahler and others as well as the ultimate decline of the genre in the 20th century. 1 unit — Agee.
205 Jazz.
An introduction to the history, theory and literature of American jazz music. Jazz as a primarily Afro-American cultural expression. Traditional African music and its relation to ragtime and blues. The evolution of jazz from its New Orleans origins to the present, as traced in the recorded legacy of such key innovators as Armstrong, Ellington, Parker, Davis, Monk and Coltrane. Guided listening and collective improvisation. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) 1 unit — Scott.
207 Opera.
An introduction to operatic conventions from the origin of opera in the late Renaissance to the operatic masterworks of the 20th century. Sociological elements behind the presentation of opera will be discussed as well as concepts in staging and production. 1 unit — Agee.
209 Music at the Millenium.
The significance of the Second Millennium as a collective anniversary. Some salient musical developments of the past on the rise in prominence of popular and world music in the 20th century. The state of music today with emphasis on revolutionary new technologies. Musical changes that are projected as the 21st century is entered. (Not offered 2008-09.) 1 unit.
210 Splendor of the Baroque.
No previous musical experience needed. A kaleidoscopic introduction to the passionate and lofty music of the late 16th, 17th, and early 18th centuries. The course examines the fascinating English developments of the late Renaissance and early Baroque, the rediscovery of ancient music and the invention of opera, the flowering of instrumental music across Europe, and the final apotheosis of the high Baroque in the dramatic spectacle of Handel and the contrapuntal genius of Bach. (Not offered 2008-09.) 1 unit.
211 Miles Ahead: The Miles Davis Years.
This course traces the remarkable fifty-year career of one of jazz's most important innovators. His thinking inspired several distinct stylistic movements in the music, and he was mentor to many younger players who developed into major voices under his leadership. Guided listening to several of Miles most important recordings as well as those of some of his significant proteges and investigation of some of the extra-musical issues surrounding his life and music. No prerequisite, though 205 Introduction to Jazz is recommended. Prerequisite: Music 205 is recommended. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) 1 unit — Scott.
212 Mozart & His Age.
A study of Mozart's life, character and works in the context of 18th-century Europe. The course will examine each genre of music composed by Mozart and compare his works with those of his immediate predecessors and contemporaries such as Handel and Haydn. Mozart's place in 18th century society - his relationships with employers, contemporary musicians and works, family, friends, and the Masonic movement - will be examined as a context for the study of his music. No musical background is required. (Not offered 2008-09.) 1 unit.
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221/222 Topics in Ethnomusicology. Special topics in ethnomusicology, approached through emphasis on a particular musical area, theoretical issue, genre or repertory, compositional technique, or instrument. The course is devoted to non-Western musical cultures. Meets the ethnomusicology requirement for the music minor.
Topics in Ethnomusicology: Music of Cuba.
An introduction to the cultural and political scene of Cuba, past and present. Through a careful examination of the classical repertoire and salon music of the 18th to the 20th centuries, we will explore the Danz-n Music of the various Afro-Cuban religious groups as well as the Santeria, Palo and the Abakua carnival music of the indigenous Spanish population. Discussion of the different forms of Rhumba, the history of Son and its influence on contemporary Salsa, as well as topics such as the Cuban bolero, Hip-Hop and Jazz. Special attention will be given to the marketing and commercializing of the contemporary Cuban music as demonstrated by the enormous success of “The Buena Vista Social Club.” (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Anthropology 221.) 1 unit — Schormann.
223 Beethoven, or "Da-Da-Da-DUMMM".
An exploration of the life and music of Ludwig van Beethoven (1771-1827). The course will begin with an overview of Beethoven's artistic inheritance from Haydn and Mozart, particularly in regard to symphonies, piano sonatas and concertos, string quartets, music for the stage, and sacred music. The powerful and daring works of Beethoven's middle period, the time of his increasing deafness, proved a challenge to this inheritance, and these compositions dominated the aesthetic concerns of the most important Western composers who followed Beethoven in the nineteenth century. The transcendental, reflective, and even puzzling works that Beethoven created in his last years - while his behavior was becoming more erratic and disturbing - were not fully appreciated by his contemporaries and immediate successors. Indeed, their artistic value and influence were not generally acknowledged until the twentieth century. This course will focus on the musical and biographical considerations that can be used to describe Beethoven as a Viennese Classical, Romantic, and post-Romantic figure, as well as his role in forming the modern concept of the performing artists and composer. No musical background is required. (Not offered 2008-09.) 1 unit.
224 Jewish Music.
This interdisciplinary course traces the many musical traditions of the Jewish world communities in a journey from Temple singing and desert ceremonies in biblical times, through music of Mendelssohn, Mahler, and Schoenberg, to works of individuals such as Gershwin, Copland, Berlin, and Bernstein. Included will be a comparative study of the three major religions of the Western world exploring their respective voices and musical interaction. Sociology, literature, religion and history, as well as issues of ethnicity, cultural unity and self-expression, will be engaged in this multicultural search for musical identity. (Also listed as Religion 224.) (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) 1 unit — Ben-Amots.
225 Wagner's "Ring".
An exploration of the romantic operas, the music-dramas, and the aesthetic principles of Richard Wagner, with special emphasis on The Ring of the Niebelung. Excellent production of the Ring music-dramas (The Rhine Gold, The Valkyrie, Siegfried, Twilight of the Gods) will be viewed on videotape, laserdisc and DVD. (Not offered 2008-09.) .5 unit.
227/228 Topics in Music.
Particular aspects in music, approached through emphasis on a form, period, composer(s), area or medium.
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Topics in Music: Vocal Literature and Language. This course provides vocal students with a broad view of classic vocal literature from many languages, countries and areas. It provides the tools for pronunciation in foreign languages through teaching the International Phonetic Alphabet (IPA) to pronounce and sing vocal literature. Taught as an extended format course and must be taken for a full year.1 unit — Hansen.
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Topics in Music: Introduction to Jazz Theory. Review of basic theory skills and the relationships between traditional Western harmony and jazz theory and nomenclature. Comparative analysis of harmonic rhythm, form, and structure in classical and jazz compositions. Study and performance of basic jazz scale and chord theory, standard chord progressions and jazz forms on either piano or other jazz instruments. Analysis of transcribed improvised jazz solos and popular music to develop understanding of practical applications of jazz theory by either improvising on their respective instruments or orchestrating a short composition for performance by class members. Prerequisite: Consent of Instructor or Music 199. Prerequisite: Consent of instructor or Music 199. .5 unit — Matzke.
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Topics in Music: Mathematical Explorations - Music and Math. Mathematics and music are disciplines with much in common – from Ancient Greek times when music was classified as one of the mathematical arts, to the present day when composers use mathematical ideas (set theory, magic squares, fractals, block designs) in their compositions. This introductory course is to explore some of the many links between music and contemporary music. No previous knowledge of either discipline is assumed. (Meets the Critical Perspectives: Scientific Investigation of the Natural World requirement.) (Also listed as Mathematics 110.) 1 unit — Wilson.
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Block 7: |
Topics in Music: The Age of Genius - The Enlightenment through Music and History. Investigates some of the composers, writers, and theorists who made the long eighteenth century an Age of Enlightenment. Focusing on what many scholars have called the “Birth of Modernity,” we will explore the broad-based questioning of Old Regime institutions and cultural practices. We will study the works of political theorists, such as Locke, Voltaire, and Kant, writers, including Beaumarchais and Goethe, and composers, such as Haydn, Mozart, and Beethoven. (One week in Baca). (Also listed as History 200.) 1 unit — M. Grace, Ragan.
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230 Women in Music.
This course examines the interaction of women's musical lives with politics, society, and spirituality, and will focus primarily on the twentieth century. We will look at artists like Aretha Franklin and South Africa's Miriam Makeba and their relationship to the Civil Rights struggles in their countries; Joni Mitchell, Holly Near, punk rocker Patti Smith, and performance artist Laurie Anderson and their relationship to the feminist movement; Mary Lou Williams Billie Holiday, Bessie Smith and the integration of women into jazz; Joan Tower, Marin Alsop, Maria Callas, Marian Anderson and the traditions of Western Classical Music; and the role of the ingenue and character roles in the Broadway musical - from Rodgers and Hammerstein to Stephen Sondheim. In addition to twentieth century women, we will also review the lives of women frame drummers of earliest history, as well as the seminal figures Amy Beach, Clara Schumann, and the mystic visionary Hildegard von Bingen. Women's diaries and oral histories will be a major source for the class, as well as video and extensive listening to recordings. (Not offered 2008-09.) 1 unit.
231 Performing Music, Performing Gender.
How do musical experiences help define gender roles and sexuality? These experiences are examined across a wide range of musical genres and cultural contexts. How might gender and sexual identity be shaped, for example, by writing the biography of a homosexual classical composer, joining a community of heavy metal fans, singing as an Italian castrato, or a 19th-century Indian courtesan, impersonating Elvis? Theoretical approaches drawn from feminist studies, gender and sexuality studies, and queer theory. (Also listed as Feminist and Gender Studies 229.) 1 unit — Bhattacharjya.
232 Popular Music from South Asia, the Middle East, and North.
Explores popular music from South Asia, the Middle East, and North Africa, as well as from these regions' diasporic populations in the United States and Europe. Considers how technology, mass media, and migration have shaped and still shape communities' respective cultural identities, particularly in the contemporary context of globalization. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Anthropology 222 and Asian Studies 250.) 1 unit — Bhattacharjya.
233 From Bombay to Bollywood: Music and the Popular Indian Film.
Examines how film music has helped define the global industry now known as "Bollywood." Also examines how film song sequences, hallmarks of Indian popular cinema, work within and outside films' narratives to create a unique aesthetic. Course surveys both old and recent popular Bombay films. It explores elements of songs within the film including stylistic conventions, context within films, and their life outside the cinema hall. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Anthropology 222 and Asian Studies 223.) 1 unit — Bhattacharjya.
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290 American Indian Music.
Explores American Indian history, culture, society, religion, ritual, aesthetic expression, and contemporary issues through the domain of music. Develops ability to identify, describe, and analyze various American Indian music; considers diverse styles and performance contexts. Addresses traditional as well as new music. This course meets the ethnomusicology requirement for the music minor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Not offered 2008-09.) 1 unit.
291 Southwest American Indian Music.
Music and culture of Southwest American Indians, with emphasis on Pueblo and Athabascan peoples. Considers origin narratives, cosmology, ritual drama, dance, and other aesthetic modes as related to Southwest Indian musical performance. Addresses traditional as well as new music. This course meets the ethnomusicology requirement for the music minor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Anthropology 291 and Southwest Studies 291.) (Not offered 2008-09.) 1 unit.
294 Latino Musics of the United States.
Explores the role of music in the expression of ethnicity and ethnic identity among Latino peoples of the United States. Various musical styles and genres performed by New Mexicans, Texas-Mexicans, Native Americans, Puerto Rican Americans, and Cuban Americans are considered. Traditional and popular Latino music is examined within their cultural and historical contexts. This course meets the ethnomusicology requirement for the music minor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Not offered 2008-09.) 1 unit.
295 Indonesian Music.
Surveys Indonesian history, culture, society, religion, and aesthetic values through music. Students become familiar with a variety of Indonesian musical repertories, styles, and performance contexts, including court traditions of Java, Sunda, and Bali and village traditions throughout the Indonesian archipelago. Traditional as well as new music is discussed. This course meets the ethnomusicology requirement for the music minor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Anthropology 295 and Asian Studies 295.) 1 unit — Lasmawan.
301 Composition.
Practical guidance in the composition of original music, with reference to 20th century music theory and compositional methods. Students will be able to concentrate on both the creative and the analytical aspects of contemporary composition. Prerequisite: Consent of instructor. 1 unit — Ben-Amots.
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315 Music History I.
Music of the Ancient World, Middle Ages, Renaissance, and Baroque. Forms, techniques, media, and aesthetic elements as fundamentals of style. An examination of music and music theory from classical antiquity through the middle of the 18th century, including the diffusion of early Christian chant, the rise of mainstream sacred polyphony in Paris during the twelfth and thirteenth centuries, the spread of sacred and secular forms during the late Middle Ages, the influence of English style on the French-Flemish composers who would dominate sacred musical style in the fifteenth and early sixteenth centuries, the appearance of important Italian composers in the late Renaissance, the national manifestations of Renaissance and early Baroque secular forms, and the international High Baroque style of Vivaldi, Bach, Handel, and Rameau. Prerequisite: Consent of instructor and 199. (315 and 316 taken in the same year meet the Critical Perspectives: The West in Time requirement.) 1 unit — Agee.
316 Music History II.
Music of the Classical and Romantic periods, and the 20th century until 1945. Forms, techniques, media, and aesthetic elements as foundations of style. Music of the Classical era concentrating on the works of Haydn, Mozart, and Beethoven, studied in the context of the age of Enlightenment and the freedom of the composer from patronage systems. The emergence of a romantic ideal in 19th century music with special focus on Schubert, Schumann, Chopin, Liszt, Berlioz, Brahms, Verdi, Wagner, nationalistic composers in Russia, and Mahler. The languages of 20th-century music as a part of rapid cultural change including the music of Debussy, Stravinsky, Schonberg, Webern, Berg, and Bartok. Note: Music History I and II do not have to be taken in sequence and credit is given for each course completed. Prerequisite: Consent of instructor and 199. (Music 315 and 316 taken in the same academic year meet the Critical Perspectives: The West in Time requirement.) 1 unit — Grace.
(Note: Music History I and II do not have to be taken in sequence and credit is given for each course completed.)
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325 Conducting (Choral).
Basic conducting and rehearsal techniques; interpretation in light of performance practices of various historical periods. Some outside reading required. Taught as an extended format course and must be taken for a full year. Prerequisite: Consent of instructor. (Not offered in 2008-09) 1 unit.
342 Music Education in the Elementary Grades.
Prerequisite: Consent of instructor (extended format). (Also listed as Education 342.) 1 unit — Anderson.
391 Theory I: Introduction to Counterpoint.
Fundamentals of counterpoint, with emphasis on two-part species; ear-training and sight-singing and basic keyword work. Prerequisite: Consent of instructor and Music 199. 1 unit — Agee.
392 Theory II: Introduction to Diatonic Harmony.
Approaches to traditional harmonic practice and the music of the Common-Practice Period; keyboard harmony, ear-training and sight-singing. Prerequisite: Music 391. 1 unit — Brink.
393 Comparative Music Theory.
Explores musical thought and process in non-Western cultures, with emphasis on Native North America, Indonesia, and India; traditional notation and sight-singing systems, ear-training, melodic and rhythmic dictation, formal analysis. This course meets the ethnomusicology requirement for the music minor. Prerequisite: Music 392. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) 1 unit — Macy.
399 Experimental Music.
Study and practical work in the "American Experimental Tradition" of Ives, Cowell, Cage, Partch and Young, and their international contemporaries and disciples. Primary focus on the development of new acoustic sound sources, including extended instrumental and vocal techniques, instrument design and building. Some attention also to compositional and performance issues. Prerequisite: Music 150 or 391. 1 unit — Scott.
401/402 Readings in Music.
Specialized concentration in fields appropriate to the needs of the individual student, under the direction of the music faculty. May be taken by non-music majors. Prerequisite: Consent of instructor. 1 unit — Department.
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411 Theory III: Advanced Diatonic Harmony.
Expanded harmonic practice and introduction to the elements of formal analysis; keyboard harmony, ear-training and sight-singing. Prerequisite: Music 392. 1 unit — Agee.
412 Theory IV: Chromatic Harmony.
Harmonic practices of the late 19th century; elementary instrumentation and score-reading; keyboard harmony, ear-training, and sight-singing. Prerequisite: Music 411. 1 unit — Ben-Amots.
430 Colloquium in Music.
Independent research in an advanced musical subject chosen by the student and approved by a faculty project adviser and the department. The project must involve a written component (words and/or notes) and lead to a colloquium (1/2 to 1 hour in length) presented by the student to the department faculty and other majors. Perquisite: Senior status and consent of department. (Not offered 2008-09) .5 unit.
435 Senior Project.
Advanced work on the senior project in music, such as a written thesis, a senior recital, or a major composition. This course may be taken by any music major of senior standing with the consent of the department. Only seniors who have completed the senior project will be considered for departmental honors upon graduation. Overall performance in course work and the quality of the senior project will be used to determine honors status. (Offered as a block or extended format.) Prerequisite: Consent of department. 1 unit — Department.
Performance – Instrument Instruction
African Music – HUNZIKER, MASANGO; Brass – MURRAY, VAN HOY, T. WILSON; Organ – SHELTON; Percussion – COOPER; Piano – ANDERSON, D. BRINK, S. GRACE, PENNINGTON, POLIFKA, C. WILSON; Strings – BOLGER, HEAD, JORGENSEN, KNIGHT, LISS, D.MILLER, M. MILLER, REED, SIZER, TAYLOR; Voice – BURNS, A. BRINK, HANSEN, ROWLAND; Woodwinds – BALIAN, EKBERG, MATZKE, NAGEM, STEVENS, VIEIRA.
Private instruction by qualified professionals in voice and all instruments (12 private lessons of 40 minutes per semester) and class instruction in African drumming, guitar, piano, and voice are available for a fee. The instruction includes study of technique, tone production, interpretation, and repertoire depending on the student’s ability and degree of previous advancement. All students MUST register with the music department supervisor at the beginning of EACH semester. Private and class instruction are offered as adjunct courses for .25 unit per semester.
124 Class Instruction in Piano.
Small group lessons for beginners, developing basic skills in technique, tone production, and musicianship. Music fundamentals, ear-training, sight-reading, and keyboard harmony. Meets once a week. Prerequisite: Consent of department. .25 unit — Brink.
125 Class Instruction in Voice.
Students will discover aspects of good vocal production (singing, speaking) including posture, breathing, general vocal physiology, relaxation techniques, performance skills and more. For students who do not take private lessons. Individual attention given. Four to twelve students, no previous experience required. Meets once a week. Prerequisite: Consent of department. .25 unit — Hansen.
126 Class Instruction in Guitar.
Small group lessons for beginners, developing basic skills in technique, tone production, and musicianship. Meets once a week. Prerequisite: Consent of department. .25 unit — Miller.
146 Instrumental Ensemble: Methods.
Two-semester course. .25 unit per semester — Hanagan.
Performance – Ensembles
Instrumental Ensemble and Vocal Ensemble credits (only for non-music majors) may be counted toward a degree provided the student does not have a total of more than 2 units of work in all.
130 World Music Ensemble: African Music Ensemble. .25 unit — Hunziker, Masango.
131 Balinese Gamelan Music. (Also listed as Asian Studies 131.) .25 unit — Lasmawan.
144 Concert Band. .25 unit — Van Hoy.
145 Chamber Orchestra. .25 unit — D. Brink.
147 Jazz Ensemble. .25 unit — Sweum.
148 Bowed Piano Ensemble. .25 unit — Scott.
149 Small Chamber Ensemble Program. .25 unit — Department.
157 Chamber Chorus. .25 unit — Teske.
159 College Choir. .25 unit — Teske.
175 Collegium Musicum. .25 unit (Not offered 2008-09).