How do we create meaning and understanding from music? And what do we do with that information in our everyday lives? This course invites students to think actively and critically about the ways the world around them is constructed through sound. We will explore modes of listening across a wide variety of musical genres and traditions, past and present, considering the ways people hear music individually and together. Students will develop newfound ways to discuss music meaningfully in a broad range of contexts and to translate what they hear into what they feel and why that matters to our collective experience. This course is open to any interested student and welcomes a diversity of backgrounds and levels of experience. 1 unit – Banagale, Chang

A technical, project-based adjunct course where students will learn concepts in audio engineering. Topics include recording, editing, mixing, live sound for events, and more. Utilizing both Packard Hall’s Recording Studio and Performance Hall, this course will focus on capturing sound using professional microphones and processing those sounds using the Digital Audio Workstation (DAW) Ableton Live. This semester-long course will include weekly meetings with the instructor where students can expect to gain knowledge and experience in recording small ensembles, collaborating with their peers, and may offer a jump start toward further exploration of audio engineering. Open to beginners with a passion for exploring deeper topics in audio engineering and music production.

This class is for students seeking to learn the art of musical improvisation. Improvisation is a real-time application of compositional techniques, theory, and in-the-moment expression. Both theory and performance based, this class gives students a deep and practical experience of composing in the moment on their instruments. Students will be given written and listening assignments, as well as concepts to practice on their instrument. A balance of written theoretical analyzation and instrument-in-hand practical workshopping will be achieved in each session. This class is open to all instruments, and only requires students to have a basic understanding of reading and writing notated music.

This course explores music and cultural belonging in the contemporary American Southwest, and the many interweaving forms of music-making across the region. We will examine how tapestries of ethnicity and cultural identity are crafted, reflected, negotiated, and altered through musical expression. Our investigation will consider processes of settler- colonialism that have contributed to waves of migration across the region, and the forms of musical practice that have emerged from, and shaped, these processes. We will focus on various genres that comprise the musical fabric of the region, including modern Latin pop, Pueblo music, Mariachi, Hispanic folk music, Navajo country, Ranchera, Flamenco, Tejano, and Indigenous rock, and will explore the relationship of landscape with identity and musical practice among local musicians. 1 unit - Carrizo

This course examines music-making as a significant site of gender performativity during the Georgian era (1714-1832), the period in which Jane Austen lived, and a critical period for gender construction in England. Her novels are full of musical scenes that offer fascinating commentary on the gendering power of music-making, however, the coded language and dated references often make these scenes difficult for the modern reader to parse. In order to situate ourselves in Austen’s gendered musical world, we will read from a variety of primary and secondary sources on music, gender and sexuality, as well as current scholarship on musical instruments and repertoire during the period. In the second half of the course we will turn to Austen’s 1815 novel, Emma, to observe the ways in which the Georgian construction of gender played out in literature, particularly through representations of domestic music-making. Open to all students. 1 unit - Chang

This class is designed to accommodate all skill levels and musical experiences. Hopi scholar Trevor Reed writes about the sonic sovereignty traditional Hopi music enacts. Similarly, Dylan Robinson xwélmexw (Stó:lō/Skwah) asks audiences to critically engage with listening as a decolonial practice. This course builds off this Indigenous Sound Studies framework to listen carefully to the contributions Indigenous artists are making through hip-hop and the coalitions they build through the art form. Using the concept of sonic sovereignty as a lens, this course will consider how Indigenous hip-hop speaks of important issues such as (but not limited to) decolonization, resisting settler colonial borders, missing murdered Indigenous women, language revitalization, joy, survival, and urban life. This course also invites you to explore the creative process and build respectful coalitions and allyship through hip-hop. Using recording technology we will record and create our own hip-hop music, while also being mindful of our positionality and intersectionality in the creative process. 1 unit - Reyes

This class is for students seeking to learn the art of musical improvisation. Improvisation is a real-time application of compositional techniques, theory, and in-the-moment expression. Both theory and performance based, this class gives students a deep and practical experience of composing in the moment on their instruments. Students will be given written and listening assignments, as well as concepts to practice on their instrument. A balance of written theoretical analyzation and instrument-in-hand practical workshopping will be achieved in each session. This class is open to all instruments, and only requires students to have a basic understanding of reading and writing notated music. .25 unit - Sweum

This course examines music-making as a significant site of gender performativity during the Georgian era (1714-1832), the period in which Jane Austen lived, and a critical period for gender construction in England. Her novels are full of musical scenes that offer fascinating commentary on the gendering power of music-making, however, the coded language and dated references often make these scenes difficult for the modern reader to parse. In order to situate ourselves in Austen’s gendered musical world, we will read from a variety of primary and secondary sources on music, gender and sexuality, as well as current scholarship on musical instruments and repertoire during the period. In the second half of the course we will turn to Austen’s 1815 novel, Emma, to observe the ways in which the Georgian construction of gender played out in literature, particularly through representations of domestic music-making. Open to all students. 1 unit - Chang

How do we create meaning and understanding from music? And what do we do with that information in our everyday lives? This course invites students to think actively and critically about the ways the world around them is constructed through sound. We will explore modes of listening across a wide variety of musical genres and traditions, past and present, considering the ways people hear music individually and together. Students will develop newfound ways to discuss music meaningfully in a broad range of contexts and to translate what they hear into what they feel and why that matters to our collective experience. This course is open to any interested student and welcomes a diversity of backgrounds and levels of experience. 1 unit – Chang