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Music in Performance - MUSIC 113 (Open to Non-Majors)
Music in Performance
Music 113: Music in Performance is a music appreciation course designed for non-music majors. Each class features performances of traditional classical music, musical theater, or jazz, with occasional lectures by music academic faculty. Performing artists include School of Music faculty, graduate students, and visiting artists who present musical programs and discuss the composers and the music from the performer’s perspective. The material presented in the course is designed for those with limited musical training. Students enrolled in and completing the course earn one elective credit in Humanities, and this credit counts toward L&S breadth requirements. The course may be taken three times for credit (totaling three credits).
Basic Concepts of Music Theory - MUSIC 151 (Open to Non-Majors)
Basic Concepts of Music Theory
Mondays, Wednesdays and Fridays, both fall and spring semesters. This class is also offered online during the eight-week summer session.
2441 Humanities Building (room may change from semester to semester)
Instructor: Distinguished Faculty Associate Jamie Henke
Basic Concepts of Music is a complete and comprehensive study of music theory for the non-music major. Students explore theoretical concepts in the context of real-world settings. Students apply what they learn in their own composition journal. We create jingles and video game music, become famous composers on a social web site, and learn to beat box! Students learn notation, rhythm, melody, harmony, and analysis techniques. The course includes an introduction to: musical forms, the evolution of music through history, as well as Twentieth century devices. The goal of the course is to provide a complete basic set of tools, and understanding of how to use those tools, for a lifelong knowledge and interest in music, and to transform the students from passive to active listeners.
Drumming the World Ensemble - MUSIC 268
The American Musical: Genre, Spectacle, Celebrity - MUSIC 419
The American Musical: Genre, Spectacle, Celebrity
MUSIC 419—Spring 2019
MWF 1:20 – 2:10, Humanities 2411
Instructor: Prof. Margaret Butler
This course introduces students to the history and development of American musical theater from its origins to the present. Topics we will explore include the formation of the genre and its relationship to American culture and society; the genre as a commercial medium; its principal creators and performers (singers, actors, dancers, composers, lyricists, dramatists, choreographers, and others); its relationship to film; its role in the formation of America’s national identity; and its communication of American values, attitudes, and norms.
Music and Genocide - MUSIC 497: Special Topics
Music and Genocide
MUSIC 497: Special Topics
Mondays, 9:00 – 11:30 a.m.
Mills Library Seminar Room, Memorial Library
Instructor: Prof. Teryl L. Dobbs
Music serves important roles in helping us realize social change, typically to imagine and create a better world. In such roles, music is often romanticized as a means of resistance, redemption, and salvation. However, what is meant by a better world shifts from culture to culture, perspective to perspective, person to person. For better or for worse, music has been instrumentalized across time and space as propaganda and for inciting riots, ethnic cleansing, torture, and genocide. With a central focus on the Holocaust, this special topics course will explore how music was deployed through specific sites of music making between 1940 and 1945, including Theresienstadt, Auschwitz-Birkenau, and the Kovno, Łodz, and Warsaw Ghettos. We will then expand our study to music’s roles in more recent historical moments: the Rwandan genocide, the war in Bosnia and Serbia, and the growing White Nationalist Power movement. Together, we will explore how to ethically and critically interrogate music and music performances that emerge from such fraught circumstances. As in the best of research endeavors, we might very well find that there exist more questions than answers.
Advanced Aural skills. Solfège, Conservatoire style - MUSIC 497
Advanced Aural skills. Solfège, Conservatoire style
Mondays, Wednesdays 1:00-2:20pm
2521 Humanities Building
Professor: Marc Vallon
2 or 3 Credits
Solfège is mostly taught in European conservatories. It involves several activities aimed at deepening the performer’s musical experience. A typical solfege class includes melodic, harmonic and rhythmic dictations, sight singing and clef reading. The goals are multiple: increase sight-reading speed and accuracy, develop harmonic hearing and help students “hear” a score. It has also been proven to enhance concentration and effectiveness in practice sessions and performances. Solfege offers to the students the unique experience of focusing their attention on the basic building blocks of music, sounds, pitches and intervals.
Jazz Greats: Their Lives and Music - MUSIC 497-092
Tuesdays and Thursdays
Room 2521 Humanities
Instructor: Matthew Endres
Learn about some of the iconic stars in jazz tradition, including Louis Armstrong, Ella Fitzgerald, Fletcher Henderson, Nancy Wilson, and more. We’ll listen to their music and how it evolved through different time periods.
This course counts toward 50% graduate coursework requirement in Humanities, Liberal Arts and Science credit in L&S, and 50% graduate coursework intermediate requirement.
Music and the Body - MUSIC 915
Music and the Body
Tuesday, 1:00 – 3:30 PM.
Seminar Room B162G, Mills Library (in Memorial Library)
Professor Nadia Chana
What do we mean when we invoke “the body”? Are we still distinguishing it from “the mind”? And who exactly is this scholarly “we”? This seminar explores current approaches to the body in (ethno)musicology and closely related disciplines, including anthropology, dance studies, and performance studies. Together, we will attempt to think both about and through the body. We will consider a wide array of topics that scholars locate in “the body”: self-fashioning; race, gender, and other vectors of identity; musical transmission; practice and technique; relational listening; the limits of the human; and even critical self-reflexivity. One of our aims will be to map, disentangle, and assess these varying approaches: how, if at all, do they speak to each other? Simultaneously, we will zoom out, asking about the role of embodied knowledge in shaping our own lenses and scholarly practices. Participants will have the opportunity to take turns facilitating “embodied” exercises.