Music

The program of the Music Department encompasses a wide variety of learning methods appropriate to a liberal arts education. Courses in history, literature, theory, analysis, composition and performance focus on different aspects of the broad subject, and are designed for students at all levels of musical experience. The goal of the Music Department is to provide the opportunity for students not only to continue developing the particular musical interests they bring to Carleton, but to broaden and expand those interests into new areas of study. A variety of courses with minimal or no prerequisites are open to all students, and Music 110 (Introduction to the Study of Music) leads into history, theory and more specialized survey courses for both majors and non-majors.

In addition to Music 110, Music 100, 109, 111, 113, 115, 117, 120, 121, 124, 125, 130, 131, 133, 134, 135, 137, 140, 141 and courses in applied music may be elected by students with little or no previous knowledge of music. Students interested in other music courses should consult the instructor concerned if in doubt as to the adequacy of their preparation. All courses with the exception of quantity-credit-only organizations (185-197) count for distribution in Arts and Literature. A maximum of 6 credits of applied music courses (150-184 and 250-289) may count for distribution credit.

A major is offered for students who wish to concentrate in music as an end in itself or in preparation for teaching, graduate study, or other work of a professional nature. Students who wish to become supervisors or teachers of music in elementary and high school may follow a plan which, supplemented by a year of graduate study elsewhere in a program such as the Master of Arts in Teaching, would ordinarily lead to the appropriate degree and certification by the second institution. At Carleton such a student would complete the normal requirements for a music major, and additional recommended courses (e.g., Music 146), and would receive the B.A. degree at the end of four years.

Credit in Applied Music and for Music Organizations:

Any student may study an instrument or voice at beginning through advanced levels, and may participate in one of the musical organizations by audition. For students not majoring in music a maximum of 36 credits in applied music may be counted toward the credits required for graduation and up to 6 credits towards distribution. A maximum of 12 non-graded credits for participation in Choir, Chamber Singers, Orchestra, Pro Musica, Symphonic Wind Ensemble, Jazz Ensemble or African Drum Ensemble may be counted toward graduation, but not for distribution credit.

Requirements for a Major:

Students intending to major in music should consult with the chair of the department early in their college career, since the theory and history courses follow one another in a preferred sequence. The preparation of the student is taken into account, both in applied and in theoretical music, and the requirements are subject to modification in individual cases, with the approval of the department.

A major in music consists of the following: Music 110, five courses in music theory (Music 200, 201, 205, 300 and 301), three courses in music history (Music 210, 211 and 212), Music 298 (Junior Colloquium), one music course on a topic outside of Western art music (such as Music 130, 131, 133, 134, 135, 137, 140, 141, or 145), Music 400 (Integrative Exercise), 6 credits in applied music (private study of an instrument or voice), and recommended participation in a performing organization or chamber music. The sequence begins with Music 110, which should be taken in either the first year or sophomore year. The core theory sequence (Music 200, 201, 205 and 300) should be taken either during the sophomore or junior year. The core history sequence (Music 210, 211 and 212) may be begun immediately after Music 110 and should be completed by the end of the junior year. Music 301 should be taken in the junior or senior year.

In addition to the minimal requirements, a student may construct a major with emphasis in one or more areas of music: music history, theory, composition, applied music or conducting. Specific course suggestions may be obtained from the department chair. The more advanced student in applied music, whether major or non-major, may, at the discretion of the instructor, perform in mixed student recitals, chamber music, and partial or full solo recitals.

In the senior year every major must be prepared to demonstrate ability to play on the piano basic chord progressions, scales, Bach chorales, and a composition of the level of the Clementi Sonatina, Op. 36, No. 2, Schubert Waltzes, or Beethoven Sonatinas in G or F.

Language competence in German and/or French is recommended for some graduate programs.

100. Musical Biography and Autobiography

Explores musical life through biography and autobiography, with examination of narratives about individuals in Native American, African, Latin American, Indian, and Western musical cultures. How do people interpret their own experiences of music in daily life, their roles as "musicians" or "non-musicians," and their musical cultures generally? We will consider the role of biography in musical ethnography, and each student will construct a musical biography or autobiography. No prerequisite. Cross-listed with American Studies 100. 6 credits, S/CR/NC, AL

Fall -- M. Russell

100. An Introduction to the Critical Appreciation of Western Art Music

An introduction to the appreciation of Western art music, with emphasis on its meaning and value. Basic critical strategies to discern meaning and value (such as formal and historical approaches) will be studied, followed by more advanced strategies (ways to understand compositions metaphorically) and two radical ones (gender and cultural critique). There will be several short papers, and a term paper in which the various approaches to music surveyed in class will be synthesized. The ability to read music is not required. 6 credits, S/CR/NC, AL

Not offered in 1996-1997.

100. Time in Contemporary Music

As Suzanne Langer wrote, "music makes time audible." Music makes us aware of the passing of moments, of simultaneity and sequence, of fast and slow, of old and new. Music, like any other artwork, reflects and embodies the cultural ideologies of its time in place. The temporal structure of much 20th century popular and art music presents special problems to the listener. How does one deal with a piece which has no ending or beginning? A piece whose form is wholly random? A piece designed for the listener to come and go, without sitting through an entire "performance"? Pieces that are patched together from other pieces? What is the impact of radio and technology on our listening -- since we may drop the needle (or CD) at any point into a piece, and similarly leave it at any time as well? By studying the music of our time, we may begin to understand the cultural embodiment of ideas and attitudes about time and order in a post- Newtonian universe. In Music 100 we will listen to various "problem" pieces by Charles Ives, Igor Stravinsky, Karlheinz Stockhausen, Steve Reich, John Adams, De La Soul, The Police, and Peter Gabriel. We will also discuss readings by J.T. Fraser, Suzanne Langer, Paul Fraisse, Thomas Clifton, George Rochberg, and Jonathan Kramer, among others. Prerequisite: the ability to read music. 6 credits, S/CR/NC, AL

Not offered in 1996-1997.

109. Music Fundamentals

A course designed for students with minimal or no music background as preparation for other music courses and/or applied music study. 2 credits, AL

Fall, Winter -- A. Mayer, J. Ellinger

110. Introduction to the Study of Music

This course is designed to develop an understanding of the elements and structural principles of music through listening, examination of the use of musical materials by representative composers, and brief exercises in analysis. The object of the course is to identify the technical reasons which make one kind of music sound different from another. In addition to the classes, there will be guided use of the computer for developing aural skills. Music 110 is intended to serve as a prerequisite to music history and theory courses, and is recommended preparation for all music literature courses. Prerequisite: the ability to read music. 6 credits, AL

Fall, Spring -- H. Valdivia, P. Rhodes

111. Survey of Western Art Music

An introduction to the history of Western art music from the Middle Ages to the present. As in introductory art history courses, the emphasis is on the various styles of the Western tradition (Medieval, Renaissance, Baroque, Classical, Romantic, and Modern), and their periodization. Representative compositions from each of these periods will be studied through reading and guided listening. No prerequisite; the ability to read music is not necessary. 6 credits, AL

Winter -- L. Archbold

113. Music and Gender

The criticism of Western art music has undergone a profound change near the end of the twentieth century as new modes of critical thought reveal new areas of meaning in the traditional repertoire. This course provides an introduction to these new ways to find meaning and value, by grounding well-known examples of Western art music in the study of gender and sexuality, including feminist and gay/lesbian perspectives. No prerequisite. Cross-listed with Women's Studies 113. 6 credits, AL, RAD

Fall -- L. Archbold

115. Music and the Media

A survey of the role of music and sound in the media of film, radio and television. Primary topics for discussion include the history and conventions of musical composition for radio, television narrative, MTV, television and radio commercials, narrative film and the Hollywood film musical. Additional topics for consideration include how musical style defines and is defined by American radio formats, how music can represent characters and emotional states in films and television, how dramatic narrative is affected by the presence or absence of music in film and television, and how music is used to appeal to consumers in television and radio commercials and in "Musak." No prerequisites. Music reading may be helpful, but not necessary to take the course. Cross-listed with American Studies 115 and Media Studies 115. 6 credits, AL

Spring -- R. Rodman

117. Introduction to Composition

Two class meetings and one individual session per week. In contrast to Music 220, this class does not require a background in music theory. It is designed for the person who has an interest in exploring the process of writing music. Class meetings will introduce techniques of composition and present structured exercises. Individual sessions will focus on the student's own projects. Class assignments will involve the opportunity to use computer/midi/synthesizer technologies. Prerequisite: the ability to read music. 6 credits, S/CR/NC, AL

Winter -- P. Rhodes

120. Introduction to Opera

A survey of opera and its history with special emphasis on four major works, one each by Mozart, Bizet, Wagner, and Stravinsky. Operas will be studied through video presentation, listening, and readings. Librettos available in translation; ability to read music not required. 6 credits, AL

Not offered in 1996-1997.

121. Beethoven Symphonies

A course designed to familiarize the student with the nine symphonies of Beethoven. Course work will include score study, listening assignments, and reading assignments. Beethoven Symphonies is offered for either 4 or 6 credits. The 6-credit option involves an advanced analysis seminar which meets once per week, as well as papers and a major analysis project. Although designed for the music major, the 6-credit option is open to any student who satisfies the prerequisite. Prerequisite: the ability to read music. Additional prerequisite for the 6- credit option: Music 110 and 200. 4 or 6 credits, AL

Not offered in 1996-1997.

124. Survey of Piano Music

A survey of the changing styles and forms in piano music from 18th to the 20th centuries. Selected compositions of major keyboard composers (Mozart, Beethoven, Chopin, Schumann, Brahms, Debussy and 20th century composers) will be studied through guided listening with scores and selected readings. Prerequisite: the ability to read music. 4 credits, AL

Not offered in 1996-1997.

129. From Impressionism to Minimalism

This course is a survey of Western art music in the 20th century from Debussy to the present. Emphasis will be placed on influential composers, seminal works and important trends. One goal of the course is to develop informed and discerning listeners. The music will be studied through guided listening, examination of scores, selected readings and class discussions. Prerequisite: the ability to read music. 6 credits, AL

Not offered in 1996-1997.

130. The History of Jazz

A survey of jazz from its beginnings to the present day focusing on the performer/composers and their music. No prerequisite. Cross-listed with African/African American Studies 130. 6 credits, AL, RAD

Not offered in 1996-1997.

131. From Blues to Rock

An introduction to various aspects of the scholarly study of music -- music theory and analysis, historical musicology, ethnomusicology, and music criticism -- which focuses on a particular repertoire of music, the acoustic blues from the Mississippi delta region during the 1920s-1940s, and its historical connection to early rock and roll in the 1950s. We seek to answer four major questions about this music: How can we talk about its structure (especially given the improvisatory nature of its performance)? Exactly how does the delta blues relate to the later urban blues of the 50s and early rock and roll? What does this music tell of the people who sang it and listened to it? Does this music have lasting value, and to whom does it speak? No prerequisite; the ability to read music is not necessary. Cross-listed with African/African American Studies 131. 6 credits, AL, RAD

Not offered in 1996-1997.

132. The Interaction of Art Music and Popular Music

An examination and critique of the "high vs. low" and "prestigious vs. vernacular" constructs in 20th century Western musical culture. Questions include: What functions do these boundaries serve? How are authority and legitimacy conferred within each? Why is the art world marginal? In what ways are these divisions no longer appropriate descriptions of our current cultural landscape? The majority of the course will survey "transgressions" in which the art world appropriates various techniques or aesthetic tendencies from the popular world or vice versa, thus redrawing and overlapping the boundaries; this evolution will be amplified by art/popular pairings, such as: Varese/Zappa, Stockhausen/The Beatles, Reich/King Crimson, Scriabin/Psychedelia, Opera/Glam Rock, Baroque Music/Heavy Metal, Romantic Music/Art Rock, The Kronos Quartet/Jimi Hendrix, Stravinsky/Jazz, Rzewski/Dylan, etc. Among other requirements, students will make a short oral presentation on a topic of individual selection. No prerequisites; the first few meetings will constitute a crash-course in music theory for the non-musician. 6 credits, AL

Fall -- M. Applebaum

133. Bluegrass and Country-Western Music

An historical survey from the turn of the century to te early 1960s. Examination of the common roots of Bluegrass and Country-Western music and the various factors which lead to the separation of the two idioms. Emphasis on important trends and influential performers. Cross-listed with American Studies 133. 6 credits, AL

Spring -- P. Rhodes

135. Traditional Appalachian Music

A study of the oral-tradition folk music of the southern Appalachian mountains and its significance in the culture and history of the region. Three related bodies of music will be examined: Ballads, Hymns and Religious Songs, and Instrumental Music.

The 6-credit option will be conducted as a seminar involving one additional class meeting per week. Independent research and three additional papers are expected. No prerequisite for the 4-credit course. Prerequisite for the 6-credit option: the ability to read music. 4 or 6 credits, AL

Not offered in 1996-1997.

137. Folksongs to Gospel: Aspects of African-American Music Traditions

The course traces the development of the rich heritage of African-American folk, religious, and classical music traditions in the United States. The course of study will place the music and its creators within the social, historical, and cultural contexts of life in the United States from the earliest days to the present. This framework will provide an understanding of the African- American aesthetics in music with a conscious concern for its relationship to the general traditions (musical forms, styles, and performance practices) of western music. No prerequisite. Cross-listed with African/African-American Studies 137. 6 credits, AL, RAD

Fall -- L. Burnett

140. Introduction to World Music

A survey including various musics of Africa, Indonesia, Latin America, Asia and the Middle East. Both traditional and popular musics will be considered, as will relationships between musical cultures, roles of music in social life, and varieties of change in musical style and practice. No prerequisite. 6 credits, AL, RAD

Spring -- M. Russell

141. Anthropology of Music

An introduction to the anthropological study of music, including consideration of the role of music in culture and society, the social organization of musical life, symbolism, creativity, relationship of music and cultural values, musical change, and the musical results of contact among cultures on the basis of a variety of cultures, particularly including South Asian, Middle Eastern, Native American, and the culture of Western art and popular music. Cross-listed with Sociology/Anthropology 141. 6 credits, AL, RAD

Not offered in 1996-1997.

143. Music of East and Southeast Asia

A survey of the musical traditions of China, Japan, Korea, Vietnam, and Indonesia. Through extensive listening, reading, and discussion, examines instruments, repertoire, traditional and contemporary musical contexts and practices, and modern trends in these musical cultures. No prerequisites. Cross-listed with Asian Studies 143. 6 credits, AL

Not offered in 1996-1997.

144. Native-American Music

A survey of Native American musical cultures, carried out through the study of a selection of Native American traditions which will be examined through description of musical life, analysis of ideas about music and its relationship to religion, ceremony, and social organization, and extensive use of recordings. Further topics include the study of musical prehistory, Native American music history in the twentieth century, music in contemporary Native American culture, and the relationship of Native-American music to those of other North American societies. 6 credits, AL, RAD

Not offered in 1996-1997.

145. Music of Africa

An introduction to the music of sub- Saharan Africa, including music of the Manding, Yoruba, Ashanti, Mbuti, and Shona. Traditional and popular styles will be explored. The relationships of music and society are examined with particular attention to ethnic identity, political life, religion, and gender roles. No prerequisite. Cross-listed with African/African American Studies 145. 6 credits, AL

Winter -- M. Russell

146. Conducting

The course covers the fundamentals of conducting such as beat patterns, baton technique, score reading, cueing, fermatas, and releases. The class will function as an ensemble, and each student will conduct short assignments once each week, or as frequently as possible. Near the end of the term each student will form a small volunteer ensemble for a final conducting project. Prerequisite: ability to read music and active participation in a major faculty-coached ensemble, or the consent of the instructor. 2 credits, AL

Winter -- H. Valdivia

148. Music of India

An introduction to the varied musical life of India, with emphasis on the classical traditions of North and South India. Folk/tribal and popular styles, including film music, ghazal, and bhangra, are also included, as are the musics of Indian communities abroad. No prerequisite. Cross-listed with Asian Studies 142. 6 credits, AL

Spring -- M. Russell

200. Music Theory I

Required for the music major; open to others who wish to acquire a formal training in two-voice species counterpoint, diatonic harmony, solfege and musical dictation, and the description and analysis of musical structures in a single key. Students have assignments in the computer music lab in the Music and Drama center. Five class meetings per week. Prerequisite: Music 110 or permission of the music department. 6 credits, AL

Fall -- R. Rodman

201. Music Theory II

Continuation of Music 200. Emphasis on chromatic harmony, three-voice species counterpoint, and formal analysis, including modulations and local tonicizations. Continued work in solfege and musical dictation skills, along with a greater emphasis on writing about musical structure. Five class meetings per week. Prerequisite: Music 200. 6 credits, AL

Winter -- J. London

205. Keyboard Harmony/Accompanying

Individual or small group study of a variety of keyboard skills according to interest: 1)for music majors; scales, chord progressions, cadences required for piano proficiency exam; 2)for accompanists: guidelines and coaching for those accompanying singers and/or instrumentalists; 3)for majors and non-majors: other keyboard skills such as transposing, accompanying simple melodies by ear, sight-reading, figured bass, modulation, improvising, and score reading. Several options may be studied in any term and the course can be repeated for additional options. Daily practice. Prerequisite: majors, Music 200; non-majors, prior piano study. 2 credits, AL

Winter -- A. Mayer

210. Medieval and Renaissance Music

A study of the most characteristic forms of music from 800 to 1600 in the western tradition. Prerequisite: the ability to read music. 6 credits, AL

Winter -- K. Richards

211. Baroque and Classical Music

An examination of western art music of the 17th and 18th centuries, including Monteverdi, Bach, Handel, Haydn, Mozart and Beethoven. Prerequisite: Music 110 or consent of the instructor. 6 credits, AL

Spring -- L. Archbold

212. Romantic and Modern Music

Romanticism in music and the modern revolt against Romanticism in western art music will be studied. Prerequisite: Music 200 or consent of the instructor. 6 credits, AL

Fall -- L. Archbold

220. Composition

Two class meetings and individual instruction. Classes are devoted to the study of compositional techniques and analysis of relevant works. Individual instruction is focused on the student's original compositions. Prerequisites: Music 110 and 200. 6 credits, AL

Fall -- M. Applebaum

225. Orchestration

Study of the instrumentation, ranges and capabilities of individual instruments, and the possibilities of instrumental combinations. Students will write and arrange short instrumental works for readings in the class. Demonstration of each instrument. Beginning score analysis. Prerequisite: Music 110 or equivalent and prior ensemble experience, or consent of the instructor. 4 credits, AL

Not offered in 1996-1997.

239. Philosophy of Music

Issues in the philosophy of music: the nature of music; musical meaning; authenticity; musical value. Readings from such authors as Peter Kivy, Jerrold Levinson, Roger Scruton, and Leonard Meyer, applied to a variety of music from Mozart and Beethoven to Muddy Waters and the Beatles. Prerequisite: a previous course in either music or philosophy, or permission of the instructor. Cross-listed with Philosophy 239. 6 credits, AL

Winter -- G. Iseminger, J. London

290. Directed Reading Courses in Music

Intended primarily for majors, these courses offer the student the opportunity of pursuing an intensive reading program on a particular topic under the direction of a faculty member. For a list of suggested topics, faculty and regulations, consult the department chair. (Student suggestions of topics are also encouraged.)

Credit by Arrangement -- Staff

291. Independent Study

Credit by Arrangement -- Staff

298. Junior Colloquium

The junior colloquium is required for all music majors and must be taken in the junior year. The general purpose of the course is to introduce students to some of the issues and techniques of research in music history and theory. Prerequisites: Music 200, 210 and junior major standing. 2 credits, S/CR/NC, ND

Spring -- L. Archbold

300. Music Theory III

Problems in the description of musical form and syntax. Continues to study late nineteenth- century chromatic harmony, focusing on the music of Wagner and Brahms. Other topics covered include extensions of sonata form, Schenkerian analysis, and rhythmic analysis. Students write a substantial analytic term paper, compose a string quartet movement in the classical style and a German Lied in the style of Hugo Wolf, and continue their work in solfege and musical dictation. Five class meetings per week. Prerequisite: Music 201. 6 credits, AL

Spring -- J. London

301. Analysis of Twentieth-Century Music

A course designed to equip the student with analytical techniques in non-tonal music, ranging from Schoenberg to the avant-garde. Prerequisites: Music 212 and 300 or consent of the instructor. 6 credits, AL

Winter -- R. Rodman

330. Jazz History Seminar

A research seminar in jazz history, this course will introduce students to the basic bibliographic tools, historical artifacts, and critical tradition of the field. Students will present short oral and written reports on selected examples of this material in preparation for a major research paper on a topic chosen in consulation with the instructor. Cross-listed with African/African American Studies 330. Prerequisites: Music 110, 130 or permission of the instructor. 6 credits, AL

Fall -- S. Kelly

391. Advanced Independent Study

Credit by Arrangement -- Staff

400. Integrative Exercise

The preparation of a significant paper on a musical topic, required of senior majors. Defense of the thesis in public presentation, and critique of other senior theses. An oral score analysis exam completes the requirements. 6 credits, S/NC, ND

Spring -- Staff

Courses in Applied Music

Students may elect courses in applied music with individual lessons of one-hour or of two half-hours, and a minimum of two hour's practice daily, for four credits each term; or with one individual half-hour lesson, and a minimum of one hour's practice daily, for two credits each term.

The class period of one hour a week in some branches of applied music consists of the performance of music and discussion of technical and aesthetic problems involved in interpretation. Recital performances are at the discretion of the instructor.

Registration and Fees:

Registration for applied music must be included in the student's official registration. The comprehensive fee does not include the cost of private instruction, and special fees are charged as described elsewhere. Refund of the applied music fee will be made, after deducting charges for lessons received, only if the student drops within the first two weeks of the term.

In the following listing, numbers 150-184 are for two credits, numbers 250-284 are for four credits. Permission of the instructor is required for registration for four credits. New students will normally elect one lesson a week for two credits. A maximum of 6 credits may count towards distribution requirement.

150 or 250. Piano

Scales, diatonic and chromatic. Studies for the development of technique. Representative compositions from the Baroque, Classic, Romantic, and Modern Periods, as appropriate, with special reference to individual style, peculiarities of notation and interpretative technique. Reading at sight. 2 or 4 credits, AL

Fall, Winter and Spring -- A. Mayer, C. Christian, K. Huber, M. Widman

151 or 251. Voice

A study of voice production, breathing, tone development, diction, and pronunciation. Selection (according to the individual voice) of Italian, German, French, and English songs of the Classic, Romantic, and Modern periods. Arias from operas and oratorios. Singing at sight. 2 or 4 credits, AL

Fall, Winter and Spring -- B. Allen, M. Brand, M. Martz, R. Penning

152 or 252. Guitar

Studies for the development of technique appropriate to the needs of the student. Music is chosen from all musical periods including folk picking, blues, ragtime, popular and classical styles. Students may begin at any level. 2 or 4 credits, AL

Fall, Winter and Spring -- J. Ellinger

155-169 and 255-269. Orchestral and Band Instruments

Studies for technical development, including scales, arpeggios, etudes and exercises appropriate to the student's needs. For technical and musical development, sonatas, concertos and shorter pieces are chosen from all musical periods. Students may begin study at any level.

155 or 255. Violin

2 or 4 credits, AL

Fall, Winter and Spring -- E. Ericksen, M. Horozaniecki, H. Valdivia

156 or 256. Viola

2 or 4 credits, AL

Fall, Winter and Spring -- E. Ericksen, M. Horozaniecki

157 or 257. Cello

2 or 4 credits, AL

Fall, Winter and Spring -- E. Wahlin

158 or 258. Double Bass

2 or 4 credits, AL

Fall, Winter and Spring -- P. Ousley

159 or 259. Flute

2 or 4 credits, AL

Fall, Winter and Spring -- A. Kodner-Wenzel

160 or 260. Oboe

2 or 4 credits, AL

Fall, Winter and Spring -- M. Klemp

161 or 261. Clarinet

2 or 4 credits, AL

Fall, Winter and Spring -- K. Diekman

162 or 262. Saxophone

2 or 4 credits, AL

Fall, Winter and Spring -- K. Diekman

163 or 263. Bassoon

2 or 4 credits, AL

Fall, Winter and Spring -- J. Bryce

164 or 264. French Horn

2 or 4 credits, AL

Fall, Winter and Spring -- E. Kodner

165 or 265. Trumpet

2 or 4 credits, AL

Fall, Winter and Spring -- L. Deichert

166 or 266. Trombone/Euphonium

2 or 4 credits, AL

Fall, Winter and Spring -- R. Rodman

167 or 267. Tuba

2 or 4 credits, AL

Fall, Winter and Spring -- R. Rodman

168 or 268. Percussion

2 or 4 credits, AL

Fall, Winter and Spring -- J. Johnson

169 or 269. Harp

2 or 4 credits, AL

Fall, Winter and Spring -- E. Niemisto

170-174 and 270-274. Instruments of Early Music

Studies to develop technique and a varied selection of works from the Renaissance and Baroque periods. With some instruments, works from the Romantic and Modern periods are also studied.

170 or 270. Harpsichord

2 or 4 credits, AL

Fall, Winter and Spring -- J. Hall

171 or 271. Organ

2 or 4 credits, AL

Fall, Winter and Spring -- L. Archbold, J. Hall

172 or 272. Lute

2 or 4 credits, AL

Fall, Winter and Spring -- J. Ellinger

173 or 273. Viola da Gamba

2 or 4 credits, AL

Fall, Winter and Spring -- A. Renken

174 or 274. Recorder

2 or 4 credits, AL

Fall, Winter and Spring -- M. Krusemeyer

175-179 and 275-279. Instruments of Jazz and Popular Music

175 or 275. Jazz Piano

Learning to harmonize a melody using chord symbols and application of scales to chord symbols. 2 or 4 credits, AL

Fall, Winter and Spring -- J. Hamilton

176 or 276. Electric Bass

Study of methods, techniques, styles and musicianship as related to the various genres of electric bass performance. 2 or 4 credits, AL

Fall, Winter and Spring -- P. Olson

177 or 277. Jazz and Blues Guitar

2 or 4 credits, AL

Fall, Winter and Spring -- D. Singley

179 or 279. Jazz Improvisation

The study of the basic grammar and syntax of jazz improvisation styles, including transcribing solos, chord/scale materials and melodic patterns. 2 or 4 credits, AL

Fall, Winter and Spring -- D. Saunders

180 and 280. Instruments of World Music

180 or 280. Raga: Vocal or Instrumental Study of Hindustani Music

Beginning, intermediate, and advanced students of voice, guitar, violin, flute, clarinet, etc., approach raga from their current level of musicianship. In all cases, traditional practical instruction is complemented by some theoretical and philosophical exploration of the underpinnings of the music. 2 or 4 credits, AL

Fall, Winter and Spring -- D. Whetstone

181 or 281. Sitar

2 or 4 credits, AL

Fall, Winter and Spring -- D. Whetstone

Musical Organizations, Ensembles, and Class Instruction

185. Carleton Choir

The 50-voice Carleton Choir of mixed voices performs works from all periods of music including large choral-orchestral works with the Carleton Orchestra. Recent performances have included Brahms' Naenia, Beethoven's Mass in C Major, Ramirez's Misa Criolla. Admission is by audition in September. 1 credit, S/CR/NC, ND

Fall, Winter and Spring -- L. Burnett

186. Chamber Singers

The chamber singers are a select group of 32 singers performing vocal chamber music from all periods of music. Activities include on-campus and off- campus concerts, a winter "Cabaret" featuring the best in popular song, and a spring Gilbert and Sullivan production, fully staged. Admission is by audition in September. Membership is for the full year. 1 credit, S/CR/NC, ND

Fall, Winter and Spring -- L. Burnett

187. Carleton Orchestra

The 60-piece Carleton Orchestra performs large symphonic masterpieces, such as Debussy's Nocturnes and Saint-Saëns' Symphony No. 3. Concerti with students and faculty soloists, and smaller works for string and wind ensembles are also performed. Occasional sight-reading sessions. Admission by audition. 1 credit, S/CR/NC, ND

Fall, Winter and Spring -- H. Valdivia

188. Carleton Pro Musica

A group dedicated to performing Medieval and Renaissance music. Each member participates in a small ensemble of singers or instrumentalists as well as in the massed ensemble. Admission by audition. 1 credit, S/CR/NC, ND

Fall, Winter and Spring -- S. Kelly

189. Carleton Symphonic Wind Ensemble

The Carleton Symphonic Band performs music selected from the standard repertory, including compositions by Holst, Grainger, Nelybel, and Sousa. Regular sight-reading sessions. Admission by audition. 1 credit, S/CR/NC, ND

Fall, Winter and Spring -- R. Rodman

190. Carleton Jazz Ensemble

The study and performance of the styles of important figures in jazz band repertory such as Basie, Kenton, Ellington, Herman, Rich, and Evans as well as current trends in contemporary jazz band compositions. Repertory will be selected from published works and student original compositions and arrangements. Admission by audition. 1 credit, S/CR/NC, ND

Fall, Winter and Spring -- D. Saunders

191. Karimba Ensemble

This ensemble focuses on the 15-key Shona (Zimbabwe) karimba (sometimes called a "thumb piano"). Students learn the fundamentals of solo and group playing on the karimba and study selections from the instrument's traditional repertoire. No musical training or experience is necessary. Cross-listed with African/African American Studies 191. 1 credit, S/CR/NC, ND

Winter -- M. Russell

192. African Drum Ensemble

The ensemble will use indigenous instruments and an African approach to musical training in order to learn and perform rhythms and songs from West Africa. No musical training or experience is necessary. Cross-listed with African/African American Studies 192. 1 credit, S/CR/NC, ND

Fall, Winter and Spring -- J. Johnson

193. Mbira Ensemble

An ensemble of 22-key Shona (Zimbabwe) mbira dza vadzimu. Playing techniques, improvisational practices, and traditional repertoire will be taught. Prerequisite: Music 191. Cross-listed with African/African American Studies 193. 1 credit, S/CR/NC, ND

Spring -- M. Russell

194. Chamber Music

The study and performance of instrumental and vocal chamber music repertory or small jazz ensemble repertory for keyboard, voice and instrumentalists, coached weekly by music faculty. 1 credit, S/CR/NC, ND

Fall, Winter and Spring -- H. Valdivia, Staff

196. Class Voice

An introduction to the study of voice, preparatory to private lessons. Check special fees. Not to be taken concurrently with Music 151 or 251 (Voice). 1 credit, S/CR/NC, ND

Fall, Winter and Spring -- Staff

197. Class Guitar

An introduction to classical and folk guitar: styles, chords and music notation for persons with little or no previous music instruction. An intermediate class will also be offered as needed. Check special fees. Not to be taken concurrently with Music 152 or 252 (Guitar). 1 credit, S/CR/NC, ND

Fall, Winter and Spring -- J. Ellinger

198. Intermediate Class Guitar

Class will continue the study of classical and folk guitar styles covering new techniques for classical style, new picking patterns for folk style. The class includes a section on improvising and composing folk songs in a variety of styles, keys and song forms. Prerequisite: at least one term of Music 152 or 252 or Music 197. 1 credit, S/CR/NC, ND

Spring -- J. Ellinger

296. Vocal Literature Survey and Diction

This course is a follow-up study to continue work begun in Class Voice, Music 196, and/or Applied Voice, Music 151. Essential vocal repertoire from four principal areas, English, Italian, French and German will be studied. IPA and diction skills needed for performance of this literature will be covered and practiced in class performance of sample works. Prerequisite: Music 196 or 151. 2 credits, S/CR/NC, ND

Winter -- R. Penning