Overhead view of a small orchestra

Music courses are designed for all levels of experience. We help students develop as composers and performers. And we offer courses on music history, literature, theory, and analysis. Students can also develop skills through performance groups and private instruction. We offer instruction on over 30 instruments.

Overhead view of a small orchestra

About Music

General Information

The Department of Music at Carleton enrolls several hundred students every term, both majors and non-majors, in a curriculum that offers a diverse and integrated approach to the areas of performance, composition, theory, history, and ethnomusicology. Students arrive at Carleton with a wide range of musical backgrounds and abilities, and all are encouraged to broaden, deepen, enrich and improve their engagement with music. In addition to applied music-making experiences in our performing ensembles and private lessons, the Department offers an array of classroom courses that range from those designed specifically for the introductory level student to advanced seminars for majors.

Courses in Applied Music

All students, regardless of major, may study an instrument or voice at beginning through advanced levels, and may participate in the Department’s musical ensembles by placement or audition. Registration for applied music lessons and ensembles must be included in the student’s official registration.

There are several registration options for applied music lessons:

  • a one-credit 100-level course, taken with or without the J (jury) designation
  • a two-credit 200-level course, taken with or without the J (jury) designation

Courses with the J (jury) designation are graded, and include a small end-of-term jury performance for area faculty; students may elect to S/Cr/NC these courses in accordance with College guidelines. Courses without the J designation are mandatory S/Cr/NC. Permission of the instructor is required for registration for two credits.

The comprehensive fee does not include the cost of private instruction, and special fees are charged for applied lessons and some ensemble classes. Fees are not refundable for late drops except when a late drop is made for medical reasons or in similar emergency situations. In such cases, the student must consult with the Music Department.

Requirements for the Music Major

The Music Major introduces students to the primary subfields of music, developing the skills of research, analysis, performance, and the creation of original work. Broadly diverse in its coverage of styles, cultures, and fields, the Music Department provides students foundational knowledge in multiple modes of music study, but also offers students substantial freedom in crafting focus of courses relevant to individual interests. The skills in critical thinking, research, writing, and performance gained in the major have proven pertinent and applicable to alumni in a broad variety of fields. Students planning a professional career in music should consult with faculty members in their area for advice and assistance.

64 credits, including:

Musical Foundations and Theory (16 credits)*

One 200- or 300-level course in Western Art Music (6 credits)

  • MUSC 211: Race, Gender, and Classical Music (not offered 2024-25)
  • MUSC 215: Western Music and its Social Ecosystems, 1830-Present
  • MUSC 217: Opera: Stage, Screen, Recording
  • MUSC 308: Seminar in Music Analysis (not offered 2024-25)

One 200- or 300-level course in Ethnomusicology or Popular Music (6 credits)

  • AFST 225: Black Music, Resistance, and Liberation
  • ARBC 222: Music in the Middle East
  • MUSC 205: Disability in Popular Music: Representations, Roles, and Receptions
  • MUSC 213: J-Pop: Listening to Music in Modern Japan (not offered 2024-25)
  • MUSC 232: Golden Age of R & B
  • MUSC 241: Music of Latin America (not offered 2024-25)
  • MUSC 244: Music Studies at the Border
  • MUSC 247: 1950s/60s American Folk Music Revival (not offered 2024-25)
  • MUSC 304: Party Politics: Popular Music in the Middle East
  • MUSC 313: Video Game Music: History, Interpretation, Practice
  • MUSC 341: Music in the American South Program: Rock Lab and Lab (not offered 2024-25)

Composition (6 credits)

  • MUSC 153: Composition (Juried) (not offered 2024-25)
  • MUSC 153J: Composition (Juried)
  • MUSC 208: Computer Music and Sound (not offered 2024-25)
  • MUSC 220: Composition Studio
  • MUSC 221: Electronic Music Composition
  • MUSC 253: Composition (Juried) (not offered 2024-25)
  • MUSC 253J: Composition (Juried)

Ensemble Participation (2 credits)

  • MUSC 185: Carleton Choir
  • MUSC 186: Carleton Voices
  • MUSC 187: Carleton Orchestra
  • MUSC 188: Carleton Chinese Music Ensemble
  • MUSC 189: Carleton Symphony Band
  • MUSC 190: Carleton Jazz Ensemble
  • MUSC 192: West African Drum Ensemble
  • MUSC 194: Chamber Music
  • MUSC 195: Jazz Chamber Music
  • MUSE 185: Carleton Choir (not offered 2024-25)
  • MUSE 186: Carleton Voices (not offered 2024-25)
  • MUSE 187: Carleton Orchestra (not offered 2024-25)
  • MUSE 188: Carleton Chinese Music Ensemble (not offered 2024-25)
  • MUSE 189: Carleton Symphony Band (not offered 2024-25)
  • MUSE 190: Carleton Jazz Ensemble (not offered 2024-25)
  • MUSE 192: West African Drum Ensemble (not offered 2024-25)
  • MUSL 194: Chamber Music (not offered 2024-25)
  • MUSL 195: Jazz Chamber Music (not offered 2024-25)

Juried Applied Lessons (4 credits)

  • Any combination of juried applied lessons and MUSC 299: Recital may fill this requirement. Composition 153J/253J does not satisfy this requirement.

300-level Seminar (6 credits)

  • Any Music course numbered between Music 303 to Music 339.  Inclusive note: a course which fulfills the seminar requirement may not be “double counted” toward other requirements, e.g., Western Art Music, Ethnomusicology, or Popular Music.

Music Electives (12 credits)

  • Any MUSC credits, including Music classes and
    • AFST 225: Black Music, Resistance, and Liberation Black Music, Resistance and Liberation
    • CGSC 130: What Minds Are What They Do The Musical Mind
    • GERM 150: German Music and Culture from Mozart to Rammstein (not offered 2024-25) German Music and Culture from Mozart to Rammstein
    • Ensembles
    • Chamber Music
    • Applied Lessons
    • MUSC 299: Recital.

Integrative exercise (6 credits)

*Students who score a 4 or 5 on the AP Music Theory exam are granted 6 general education credits. This does not grant students automatic exemption from MUSC 103: Musicianship I and/or MUSC 110: Theory I: The Principles of Harmony; exemption in these courses is determined by the music department placement exams. Credits earned via the AP exam do not count for elective credit in the major or minor. Students who are exempted from 103 need only 61 credits to complete the major. Students who are exempted from 110 will need to take another 6-credit classroom course in Music (MUSC 100: Ways of Hearing does not qualify).

Music Department Minors

The Music department offers three Music Minors:

  • American Music Minor provides students with a framework for understanding the diverse music and musical cultures of America. This minor does not assume a traditional music background and does not require music theory.
  • Music Minor is a flexible minor that allows students either a broad range of music study, or enables a focus on a particular area of musical inquiry.
  • Music Performance Minor is for students who want to pursue excellence in musical performance with a focus in a particular instrument, voice, or performance area.

A student may major in Music and minor in Music Performance or American Music. Students will not be able to major and minor in Music and additionally cannot minor in both Music and Music Performance.

American Music Minor

The Minor in American Music brings together the most prominent strands of American music scholarship on campus. Taking its inspiration from the multidisciplinary approaches characteristic of this emerging field, the minor includes:

  • A gateway course surveying American musical history and genres
  • A foundational course from a field or interdisciplinary area offering a critical perspective on American culture
  • Three courses offering in-depth study of musical traditions essential to the American soundscape
  • A capstone research seminar in which students pursue individual projects. No previous musical experience is required.

Requirements for the American Music Minor

Six courses are required.

  • Gateway Course: 6 credits
  • MUSC 126: Music in the American South Program: America’s Music (not offered 2024-25)
  • Foundations: 6 credits
  • AFST 113: Introduction to Africana Studies (not offered 2024-25)
  • AMST 115: Introduction to American Studies
  • CAMS 110: Introduction to Cinema and Media Studies
  • GWSS 110: Introduction to Gender, Women’s & Sexuality Studies
  • HIST 122: U.S. Women’s History to 1877 (not offered 2024-25)
  • HIST 123: U.S. Women’s History Since 1877 (not offered 2024-25)
  • HIST 125: African American History I: From Africa to the Civil War
  • HIST 126: African American History II
  • MUSC 110: Theory I: The Principles of Harmony
  • MUSC 204: Theory II: Musical Structures
  • RELG 140: Religion and American Culture (not offered 2024-25)
  • SOAN 110: Introduction to Anthropology
  • SOAN 111: Introduction to Sociology
  • Soundtracks of America: 18 credits, at least one course must be at the 200 level or above
  • AFST 225: Black Music, Resistance, and Liberation
  • AMST 269: Woodstock Nation
  • MUSC 115: Listening to the Movies (not offered 2024-25)
  • MUSC 123: The American Film Musical (not offered 2024-25)
  • MUSC 131: The Blues From the Delta to Chicago (not offered 2024-25)
  • MUSC 136: History of Rock (not offered 2024-25)
  • MUSC 137: Rock, Sex, & Rebellion (not offered 2024-25)
  • MUSC 140: Ethnomusicology and the World’s Music
  • MUSC 144: Music and Migration (not offered 2024-25)
  • MUSC 208: Computer Music and Sound (not offered 2024-25)
  • MUSC 211: Race, Gender, and Classical Music (not offered 2024-25)
  • MUSC 213: J-Pop: Listening to Music in Modern Japan (not offered 2024-25)
  • MUSC 215: Western Music and its Social Ecosystems, 1830-Present
  • MUSC 217: Opera: Stage, Screen, Recording
  • MUSC 232: Golden Age of R & B
  • MUSC 241: Music of Latin America (not offered 2024-25)
  • MUSC 247: 1950s/60s American Folk Music Revival (not offered 2024-25)
  • MUSC 341: Music in the American South Program: Rock Lab and Lab (not offered 2024-25)
  • Research Seminar  6 credits
  • MUSC 308: Seminar in Music Analysis (not offered 2024-25)
  • MUSC 313: Video Game Music: History, Interpretation, Practice

Requirements for the Music Minor

The Minor in Music is an excellent way for students to pursue their passion for music from a broad perspective, but also offers the flexibility for a student to customize a course of study specific to their particular interests.

36 credits required, including:

  • Musical Foundations and Theory (6 credits)*
    • MUSC 110: Theory I: The Principles of Harmony or MUSC 204: Theory II: Musical Structures
  • Two 200- or 300-level courses (12 credits) selected from:
    • ARBC 222: Music in the Middle East
    • CAMS 242 (not offered 2024-25)
    • MUSC 208: Computer Music and Sound (not offered 2024-25)
    • MUSC 211: Race, Gender, and Classical Music (not offered 2024-25)
    • MUSC 213: J-Pop: Listening to Music in Modern Japan (not offered 2024-25)
    • MUSC 215: Western Music and its Social Ecosystems, 1830-Present
    • MUSC 217: Opera: Stage, Screen, Recording
    • MUSC 220: Composition Studio
    • MUSC 221: Electronic Music Composition
    • MUSC 224 (not offered 2024-25)
    • MUSC 227: Perception and Cognition of Music
    • MUSC 239: The Philosophy of Music (not offered 2024-25)
    • MUSC 241: Music of Latin America (not offered 2024-25), or any course number MUSC 303 (not offered 2024-25)-339
    • MUSC 341: Music in the American South Program: Rock Lab and Lab (not offered 2024-25)
  • 300-level Seminar (6 credits)
    • One class from courses numbered MUSC 303 (not offered 2024-25)-339
  • Music Electives (12 credits)
    • Any MUSC credits, including:
      • Music classes
      • AFST 225: Black Music, Resistance, and Liberation, Black Music, Resistance & Literation
      • CGSC 130: What Minds Are What They Do The Musical Mind
      • GERM 150: German Music and Culture from Mozart to Rammstein (not offered 2024-25) German Music and Culture from Mozart to Rammstein
      • ensembles
      • chamber music
      • applied lessons
      • MUSC 299: Recital

Students pursuing work in an interdisciplinary area (e.g., ethnomusicology, media studies, music psychology) may petition for elective courses outside of Music to count towards the minor.

*Students who score a 4 or 5 on the AP Music Theory exam are granted 6 general education credits. This does not grant students automatic exemption from MUSC 103: Musicianship I and/or MUSC 110: Theory I: The Principles of Harmony; exemption in these courses is determined by the music department placement exams. Credits earned via the AP exam do not count for elective credit in the major or minor. Students who are exempted from 103 need only 61 credits to complete the major. Students who are exempted from 110 will need to take another 6-credit classroom course in Music (MUSC 100: Ways of Hearing does not qualify).

Requirements for the Music Performance Minor

The Minor in Music Performance has a prescribed area of focus for a student who wishes to pursue excellence in music performance or conducting.

Prerequisite: minimum one term of juried lessons at the 200 level. Entry into the minor is by audition only. Auditions will usually take place during juries held at the end of each term.

36 credits required, including:

  • Musical Foundations and Theory (2-6 credits)*
  • Juried Applied Lessons (10 credits)
    • Any combination of 1- or 2-credit juried lessons.
    • Normally these 10 credits of applied study will be on the same instrument/voice, but in areas such as non-Western and American folk, students may petition to count lessons on more than one instrument/voice.
    • Composition 153J/253J does not satisfy this requirement.
  • Ensemble (3 credits)
    • Three credits from any course number Music 185 to Music 199 (inclusive)
  • MUSC 342: Creative Music Performance Seminar: Music Performance Seminar (3 credits)
  • MUSC 299: Recital: Recital (3 credits)
    Must be taken once, may be repeated for elective credit
  • Music Electives (11-15 credits to total 36 credits)
    • Any additional MUSC credits, including classroom courses, ensembles, applied lessons or CGSC 130: What Minds Are What They Do The Musical Mind.

It is recommended — though not required — that students minoring in music performance take additional courses in theory, history, composition, or world musics.

*Students who score a 4 or 5 on the AP Music Theory exam are granted 6 general education credits. This does not grant students automatic exemption from MUSC 103: Musicianship I and/or MUSC 110: Theory I: The Principles of Harmony; exemption in these courses is determined by the music department placement exams. Credits earned via the AP exam do not count for elective credit in the major or minor. Students who are exempted from MUSC 101: Music Fundamentals or MUSC 103: Musicianship I will need to take two additional credits to obtain the 36 credits required for the minor.

Music Courses

  • MUSC 100.00 Ways of Hearing

    People hear differently. In this course we will consider various “ways of hearing.” We will study topics like historical recreation, physiology and cognitive studies of music, thinking like a composer and musical writing, ethnographic listening, hearing like a performer, and how music creates meaning. There are distinct paths to continue each of the topics, and we will explore opportunities for students to extend these musical interests while at Carleton. "Do you hear what I hear?" asks the famous song. Perhaps not. As we will see, the range of musical activity and interest among our peers can be extremely vast.

  • MUSC 101 Music Fundamentals

    A course designed for students with little or no music background as preparation and support for other music courses, ensemble participation and applied music study. The course covers the fundamentals of music notation, including notes and chords in treble and bass clefs, key and time signatures, and the realization of basic rhythmic patterns.

  • MUSC 103 Musicianship I

    A course in aural skills, focusing upon sight reading using solfège (movable do, la-based minor), and short melodic dictation exercises of up to four bars in length in major and minor keys. Recommended Preparation: MUSC 101 or permission of the instructor as assessed by a diagnostic exam administered at the start of the program.

  • MUSC 104 Musicianship II

    Continuation of Musicianship I, with an emphasis on singing and dictation skills. More advanced solfège is introduced, including melodies in minor keys and chromaticism. Longer melodic dictation exercises which introduce standard four-and eight-bar melodic schemas will also be covered. Some harmonic dictation will also be included. Recommended Preparation: MUSC 103 or permission of instructor as assessed by a diagnostic exam administered at the start of the term.

  • MUSC 108 Introduction to Music Technology

    A course in using the computer to make meaningful interventions into our practices as musicians. We’ll explore a number of approaches to composing, producing, and hearing music, among them coding, visual programming, and working in a digital audio workstation. Students will ultimately combine and hybridize these different methods in order to create unique, individual systems, using them to make new work. Open to all interested students; no prior experience with music, programming, or production required.

  • MUSC 109 Choir & A Cappella Arranging

    Arranging music for vocal groups is a unique balance between artistic integrity, expressivity, and practicality. This balance will be explored experientially first by broadening student’s compositional skills and then by applying these skills to their own vocal arrangements for choirs and a cappella groups. Class activities will include studying vocal ranges, scoring for vocal ensembles, and arranging/transcribing music for various combinations of vocal groups.

  • MUSC 110 Theory I: The Principles of Harmony

    An introduction to the materials of western tonal music, with an emphasis on harmonic structure and syntax. It covers basic harmonic syntax (through secondary dominants), melodic phrase structure and cadences, and small musical forms, along with related theoretical concepts and vocabulary. Student work involves readings, analysis and composition exercises, and short essay assignments. Recommended Preparation: MUSC 101 or permission of instructor as assessed by a diagnostic exam administered at the start of the term.

  • MUSC 115 Listening to the Movies

    We all watch movies, whether it’s in a theater, on television, a computer, or a smartphone. But we rarely listen to movies. This class is an introduction to film music and sound. The course begins with a module on how film music generally works within a narrative. With this foundation, the course then concentrates on the role film music and sound play in shaping our understanding of the film’ stories. Over the course of the term, students will study a variety of films and learn about theories of film music and sound. Class assignments include a terminology quiz, cue chart, and a short comparative essay. The course will culminate in a final project that may take the form of a term paper or creative project.

    Required Extra Time

    Not offered in 2024-25

  • MUSC 123 The American Film Musical

    A survey of film musicals from their beginnings in the 1920s to the present. The course will cover the definition and attributes of film musicals, how a film musical differs from a film with music, and then continue with a historical survey of various eras of musicals, such as early sound film musicals, the film musical at its zenith, the adaptation of Broadway musicals to the screen, and current postmodern musicals and animated musicals by Disney and Pixar. The course will also discuss how musicals convey evolving cultural attitudes of gender, race, ethnicity, and sexual orientation, as well as good vs. evil.

    Not offered in 2024-25

  • MUSC 125 Listening to Rock

    This course will consider the musical elements of Rock. The instructor will create a theme for the term focusing on a subset of rock history (girl groups, concept albums, etc.). Using guided listening and student responses, the class will focus on a single album (or other group of tracks) per week throughout the term. No theme will repeat during any four-year period, allowing students to take the course multiple times. This course may be offered as a stand-alone class or as a coordinated trailer to “History of Rock.”

    Not offered in 2024-25

  • MUSC 126 Music in the American South Program: America’s Music

    A survey of American music with particular attention to the interaction of the folk, popular, and classical realms. We will use the course sites as classrooms, studying the past and present of musical activity in New Orleans, the Mississippi Delta, Memphis, Muscle Shoals and Nashville. We will focus on themes like identity and nation, memory, religion, locality, race and nationhood, the body, and technologies. While focusing on the genres, styles and epochs most associated in these places, we will also consider the range of musical cultures in and around these locations during the past and present. 

    Not offered in 2024-25

  • MUSC 127 Music and Censorship

    This course examines the causes, methods and logic behind attempts to censor music by governments, commercial corporations and religious authorities through guided listening, reading, and writing assignments. Lectures focus first on the “entartete musik” of Nazi Germany. Contemporary cases of music censorship are then selected from a wide range of countries, including the United States, South Africa, and Russia. The music studied includes that by Pussy Riot, Paul Simon, Pete Seeger, and Richard Wagner.

  • MUSC 128 Introduction to Conducting

    This course provides an overview of the history of conducting, as well as an introduction to score analysis and the physical skills required for communicating with an ensemble.  Extensive classroom time is given to conducting the other members of the class in order to develop a repertory of non-verbal gestures that communicate form, timbre, ensemble. Prerequisite: Ability to read music.

    Not offered in 2024-25

  • MUSC 131 The Blues From the Delta to Chicago

    A history of the Delta blues and its influence on later blues and popular music styles, tracing its movement from the Mississippi Delta in the 1920s to Chess Records and the Chicago Blues of the 1940s and 50s (especially Howlin’ Wolf and Muddy Waters). Music and musicians discussed will include the classic blues singers of the 1920s, early country music (Jimmie Rodgers), and the legacy of Robert Johnson. Issues of authenticity and “ownership” of both the music and its cultural legacy will also be discussed. The course involves readings, listening assignments, and some transcriptions of early recorded blues. No prerequisite, although the ability to read music is helpful.

    Not offered in 2024-25

  • MUSC 136 History of Rock

    This course is an introduction to the history of rock music, emphasizing primarily the period between 1954 and the present. Mixing historical and cultural readings with intense listening, we will cover the vast repertoire of rock music and many other associated styles. We will focus on the sounds of the music, learning to distinguish a wide variety of genres, while also tracing the development and transformation of rock and pop styles. The lectures will use a wide variety of multimedia, including commercial audio and video, unpublished audio and video sources, print materials, and technological devices. Knowledge of a technical musical vocabulary and an ability to read music are not required for this course. 

    Not offered in 2024-25

  • MUSC 137 Rock, Sex, & Rebellion

    This course will develop critical listening skills and an understanding of musical parameters through an introduction to select genres within the history of rock music. Our focus is on competing aesthetic tendencies and sub-cultural forces that shaped the music. The course includes discussions of rock’s significance in American culture and the minority communities that have enriched rock’s legacy as an expressively diverse form. Examined genres include blues, jazz, early rock ’n’ roll, folk rock, protest music, psychedelia, music of the British Invasion, punk, art rock, Motown, funk, hip hop, heavy metal, grunge, glitter, and disco. Lectures, readings, careful listening, and video screenings. Students will also argue for the best rock song of all time. 

    Not offered in 2024-25

  • MUSC 140 Ethnomusicology and the World’s Music

    This course introduces the discipline of ethnomusicology and its history, theory, methods, and contemporary critiques. Centering the social and cultural analysis of music, the course explores case studies of global popular, vernacular, and classical musics. We will expand our skills as listeners while also considering key issues, such as the “world music” market; ethnographic methods; gesture, dance, and embodiment; copyright and repatriation; the role of media forms and AI technologies; and the politics of representation. No musical experience necessary.

  • MUSC 144 Music and Migration

    Throughout history, people have relocated for a variety of reasons, both voluntarily and forcibly. What sorts of consequences do mass movements of people have on cultural practices? This course will examine the legacy of the slave trade with relation to African-influenced music developments throughout the Americas and the Caribbean. We will first consider the nuances of West African music practices and beliefs before and during the slave trade. Then, we will explore a variety of sacred and secular traditions that developed in the New World as a result of the African Diaspora, including spirituals, the blues, jazz, rock and roll, and hip hop in North America; tango, blocos afro, cumbia, and candombe in South America; and Santería, reggae, timba, rara, and steel pan in the Caribbean. As part of this exploration, we will consider difficult questions, such as what is “black music”?; What ethical considerations must we think about in relation to who can/should play black music?; and What sorts of similarities and differences exist between African-influenced music styles in the Americas, and why? Lastly, we will consider how music in Africa has changed in more recent times due to a return of African-Americans back to their ancestral roots as well as other points of contact between the Americas and Africa, especially in relation to genres like Afrobeat, highlife, and gumbe. No previous musical experience required.

    Not offered in 2024-25

  • MUSC 150 Piano

    Weekly half-hour lessons, with repertoire selected as appropriate for the individual student’s experience. Works from a variety of style periods may be studied, with attention to both musical and technical development. Open to students with no previous musical experience.

  • MUSC 150J Piano (Juried)

    Weekly half-hour lessons, with repertoire selected as appropriate for the individual student’s experience. Works from a variety of style periods may be studied, with attention to both musical and technical development. The juried (J) course includes the opportunity for students to share their work in an end-of-term public or closed performance. Open to students with no previous musical experience.

  • MUSC 151 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 and songs from operas, oratorios, musical theater and popular songs from Western and non-Western traditions. In addition, one studio class per week.

  • MUSC 151J Voice (Juried)

    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 and songs from operas, oratorios, musical theater and popular songs from Western and non-Western traditions. In addition, one studio class per week.

  • MUSC 152 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 with no prior experience or lessons should take one term of class guitar (Music 197).

  • MUSC 152J Guitar (Juried)

    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 with no prior experience or lessons should take one term of class guitar (Music 197).

  • MUSC 153 Composition (Juried)

    Individual instruction focusing on the student’s original compositions. Course work includes the study of compositional techniques, analysis of relevant works, and use of relevant technologies. The course is designed as an introduction to the field for any interested student.

    Not offered in 2024-25

  • MUSC 153J Composition (Juried)

    Individual instruction focusing on the student’s original compositions. Course work includes the study of compositional techniques, analysis of relevant works, and computer/MIDI/synthesizer technologies. The course is particularly directed toward the major who wishes to pursue the composition option in the Senior Integrative Exercise.

  • MUSC 155 Violin

  • MUSC 155J Violin (Juried)

  • MUSC 156 Viola

  • MUSC 156J Viola (Juried)

  • MUSC 157 Cello

  • MUSC 157J Cello (Juried)

  • MUSC 158 Classical String Bass

    The study of the acoustic string bass in the Classical style.

  • MUSC 158J Classical String Bass (Juried)

    The study of the acoustic string bass in the Classical style.

  • MUSC 159 Flute

  • MUSC 159J Flute (Juried)

  • MUSC 160.01 Oboe/English Horn

  • MUSC 160.02 Oboe/English Horn

  • MUSC 160.01 Oboe/English Horn

  • MUSC 160.02 Oboe/English Horn

  • MUSC 160.01 Oboe/English Horn

  • MUSC 160.02 Oboe/English Horn

  • MUSC 160J.01 Oboe/English Horn (Juried)

  • MUSC 160J.02 Oboe/English Horn (Juried)

  • MUSC 160J.01 Oboe/English Horn (Juried)

  • MUSC 160J.02 Oboe/English Horn (Juried)

  • MUSC 160J.01 Oboe/English Horn (Juried)

  • MUSC 160J.02 Oboe/English Horn (Juried)

  • MUSC 161 Clarinet

  • MUSC 161J Clarinet (Juried)

  • MUSC 162 Saxophone

  • MUSC 162J Saxophone (Juried)

  • MUSC 163 Bassoon

  • MUSC 163J Bassoon (Juried)

  • MUSC 164 French Horn

  • MUSC 164J French Horn (Juried)

  • MUSC 165 Trumpet

  • MUSC 165J Trumpet (Juried)

  • MUSC 166.01 Trombone/Euphonium

  • MUSC 166.02 Trombone/Euphonium

  • MUSC 166.01 Trombone/Euphonium

  • MUSC 166.02 Trombone/Euphonium

  • MUSC 166.01 Trombone/Euphonium

  • MUSC 166.02 Trombone/Euphonium

  • MUSC 166J.01 Trombone/Euphonium (Juried)

  • MUSC 166J.02 Trombone/Euphonium (Juried)

  • MUSC 166J.01 Trombone/Euphonium (Juried)

  • MUSC 166J.02 Trombone/Euphonium (Juried)

  • MUSC 166J.01 Trombone/Euphonium (Juried)

  • MUSC 166J.02 Trombone/Euphonium (Juried)

  • MUSC 167 Tuba

  • MUSC 167J Tuba (Juried)

  • MUSC 168 Orchestral Percussion

    Instruction on orchestral percussion instruments such as snare drum, mallets, and tympani. Equipment available for registered students.

  • MUSC 168J Orchestral Percussion (Juried)

    Instruction on orchestral percussion instruments such as snare drum, mallets, and tympani. Equipment available for registered students.

  • MUSC 169 Harp

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

  • MUSC 169J Harp (Juried)

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

  • MUSC 170 Harpsichord

  • MUSC 170J Harpsichord (Juried)

  • MUSC 171 Organ

    Basic piano skills required.

  • MUSC 171J Organ (Juried)

    Basic piano skills required.

  • MUSC 172 Oud

    Beginning through advanced study of the Arab oud. Previous musical experience is not necessary. Instruments are provided.

  • MUSC 172J Oud (Juried)

    Beginning through advanced study of the Arab oud. Previous musical experience is not necessary. Instruments are provided.

  • MUSC 174 Recorder

  • MUSC 174J Recorder (Juried)

  • MUSC 175 Jazz Piano

    Study the tools for learning the jazz "language." Learn to improvise through scale and mode study, transcription, and composition. Turn chord symbols into chord voicings and accompaniment. Explore the blues, jazz "standards," and today's music. Materials: staff paper, The Real Book, vol. 1, or similar fake book, and the app iReal Pro. Weekly studio class required. Prerequisite: Three years of piano.

  • MUSC 175J Jazz Piano (Juried)

    Study the tools for learning the jazz "language." Learn to improvise through scale and mode study, transcription, and composition. Turn chord symbols into chord voicings and accompaniment. Explore the blues, jazz "standards," and today's music. Materials: staff paper, The Real Book, vol. 1, or similar fake book, and the app iReal Pro. Weekly studio class required. Prerequisite: Three years of piano.

  • MUSC 176 Electric & Acoustic Bass

    The study of either electric bass guitar or acoustic string bass in all contemporary styles including rock, jazz, pop, rap, and reggae.

  • MUSC 176J Electric & Acoustic Bass (Juried)

    The study of either electric bass guitar or acoustic string bass in all contemporary styles including rock, jazz, pop, rap, and reggae.

  • MUSC 177 Jazz and Blues Guitar

    Study of chord voicings, accompanimental techniques, and solo guitar performance in the jazz idiom. Prerequisites: previous study of guitar and the ability to read music, or the permission of the instructor. Students must provide their own instruments.

  • MUSC 177J Jazz and Blues Guitar (Juried)

    Study of chord voicings, accompanimental techniques, and solo guitar performance in the jazz idiom. Prerequisites: previous study of guitar and the ability to read music, or the permission of the instructor. Students must provide their own instruments.

  • MUSC 178 Drum Set Instruction

    Drum Set Instruction on/in jazz and popular drumming styles which use the standard drum set. Equipment available for registered students.

  • MUSC 178J Drum Set Instruction (Juried)

    Drum Set Instruction on/in jazz and popular drumming styles which use the standard drum set. Equipment available for registered students.

  • MUSC 179 Jazz Improvisation

    The study of the basic grammar and syntax of jazz improvisation styles, including transcribing solos, chord/scale materials and melodic patterns. Weekly studio class required.

  • MUSC 179J Jazz Improvisation (Juried)

    The study of the basic grammar and syntax of jazz improvisation styles, including transcribing solos, chord/scale materials and melodic patterns. Weekly studio class required.

  • MUSC 180 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.

  • MUSC 180J Raga: Vocal or Instrumental Study of Hindustani Music (Juried)

    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.

  • MUSC 181 Sitar

    Beginning through advanced study of sitar in the gayaki ang style of Ustad Vilayat Khan. Previous musical experience is not necessary. Sitars are provided.

  • MUSC 181J Sitar (Juried)

    Beginning through advanced study of sitar in the gayaki ang style of Ustad Vilayat Khan. Previous musical experience is not necessary. Sitars are provided.

  • MUSC 182 Chinese Musical Instruments

    Beginning through advanced study on traditional Chinese instruments, pipa (Chinese lute), erhu (Chinese violin), guzheng (Chinese zither), zhongruan (Chinese moon guitar), hulusi, bawu and dizi (Chinese bamboo flutes).

  • MUSC 182J Chinese Musical Instruments (Juried)

    Beginning through advanced study on traditional Chinese instruments, pipa (Chinese lute), erhu (Chinese violin), guzheng (Chinese zither), zhongruan (Chinese moon guitar), hulusi, bawu and dizi (Chinese bamboo flutes).

  • MUSC 184 American Folk Instruments

    Beginning to advanced study of technique and improvisational styles on American folk instruments. Students may study 5-string banjo (bluegrass or clawhammer style), bluegrass guitar, Dobro©, fiddle (violin, viola, cello), bass, ukulele, mandolin, and accordion. The Music Department has a single mandolin, fiddle, banjo, and guitar (and two ukuleles) available for shared use by enrolled students unable to provide their own instruments.

  • MUSC 184J American Folk Instruments (Juried)

    Beginning to advanced study of technique and improvisational styles on American folk instruments. Students may study 5-string banjo (bluegrass or clawhammer style), bluegrass guitar, Dobro©, fiddle (violin, viola, cello), bass, ukulele, mandolin, and accordion. The Music Department has a single mandolin, fiddle, banjo, and guitar (and two ukuleles) available for shared use by enrolled students unable to provide their own instruments

  • MUSC 185 Carleton Choir

    The Carleton Choir is a select vocal ensemble (SATB) performing concertized choral music from diverse genres. It strives for artistic excellence whether singing music from the Baroque period to contemporary choral music, or arrangements of spirituals, pop songs, or global songs. The Carleton Choir regularly tours and collaborates with other choirs. Singers demonstrate moderate to advanced musicianship skills and most have strong vocal background from voice lessons and/or high school choirs. An audition is required, and members are expected to commit to the entire academic year (with exceptions offered for varsity sports, off-campus program, and unique academic circumstances). Admission by audition.

  • MUSC 186 Carleton Voices

    The Carleton Voices is a mixed vocal ensemble that sings eclectic musical styles including musical theater, pop/rock, classical, gospel, folk, jazz, and global songs. The ensemble regularly collaborates with guest artists ranging from folk bands, gospel trios, and visiting choirs. Singers do not need to be able to read Western music notation; rehearsals will be led via multiple learning modes including call and response, learning tracks, instrumental support, and sheet music. Each term, The Carleton Voices collaborates with The Carleton Choir in rehearsals and concert. A voice placement is required so that the instructor can learn about your vocal range.

  • MUSC 187 Carleton Orchestra

    The Carleton Orchestra performs large symphonic masterpieces, such as Beethoven, Stravinsky and Bernstein. Concerti with students and faculty soloists, and smaller works for string and wind ensembles are also performed. Occasional sight-reading sessions. Admission by audition.

  • MUSC 188 Carleton Chinese Music Ensemble

    The ensemble will use indigenous instruments and a Chinese approach to musical training in order to learn and perform music from China. In addition to the Wednesday meeting time, there will be one sectional rehearsal each week. Prerequisite: Previous experience in a music ensemble, Chinese Musical instruments or instructor permission.

  • MUSC 189 Carleton Symphony Band

    The Carleton Symphony Band performs music selected from the standard and contemporary repertory, including compositions by Holst, Masianka, Arnold and others. Regular sight-reading sessions. Admission by audition.

  • MUSC 190 Carleton Jazz Ensemble

    The Carleton Jazz Ensemble’s focus is on improvisation and the fusion between jazz, rock, funk, and Latin influences. There is no predetermined instrumentation. Rather, the ensemble’s size and instrumentation vary each term. String players, vocalists, and any brass or woodwind instrumentalists are welcome to register. The ensemble performs once each term.

  • MUSC 191 The Rhythms of West Africa

    An introduction to the anthropology of music through readings, discussion, and hands-on encounters with the percussion-based musical styles of West Africa. The course will cover the history and ethnography of West African societies and cultures, methods of fieldwork and music analysis, and engage with classic and contemporary scholarship. In addition, students will learn essential playing techniques and repertoire through performing in djembe-centered percussion ensembles. No prior musical experience required.

    Not offered in 2024-25

  • MUSC 192 West 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.

  • MUSC 194 Chamber Music

    Small group study and performance of instrumental and/or vocal chamber music from the western art music or non-western/folk repertory. Groups are usually formed by students prior to registration, and should consist of 3-8 musicians. Student groups are coached weekly by specialized music faculty, and participate in an end-of-term performance. Students must be registered, may not audit, and can register for only one group per term. Expected Preparation: Student has completed or is in the process of completing one Applied Music course with a grade of C- or better.

  • MUSC 195 Jazz Chamber Music

    Small groups participate in the study and performance of instrumental and/or vocal jazz chamber music. Groups are usually formed by students prior to registration, and should usually consist of 3-8 students. Groups rehearse independently, and are coached weekly by jazz music faculty; all groups participate in an end-of-term performance. Students must register, and may not audit; students register for only one group, but may participate in two groups with permission of instructor.

  • MUSC 196 Jazz Workshop

    This class focuses on the theory and practice of jazz improvisation. Students will develop their improvisational skills by learning and applying various scales, modes, and chord structures to lab performances of standard jazz repertoire on their respective instruments.

    • Fall 2024, Winter 2025, Spring 2025
    • S/CR/NC
    • 1
    • ARP, Arts Practice

    • This course requires permission from the instructor.

      To request permission, click this link and fill out the request form.

      Please note: the link will open in a new window. Once you have received permission from the instructor, you will be able to return to this page to register for the course.
    • CL: 100 level
    • Laura Caviani 🏫 👤 · Zacc Harris 🏫 👤

  • MUSC 197 Class Guitar

    An introduction to classical and folk guitar: styles, chords and music notation for persons with little or no previous music instruction. Not to be taken concurrently with Music 152, 152J, 252 or 252J.

  • MUSC 198 Class Voice

    This course provides students with a communal experience to learn the art of singing. Designed for beginners, the class offers group exercises and vocalizing, solo lessons, listening assignments, lectures, and readings to learn the skills to sing musical styles ranging from classical to musical theater to global folk songs. Some experience with Western musical notation is helpful, though not required.

    Not offered in 2024-25

  • MUSC 204 Theory II: Musical Structures

    An investigation into the nature of musical sounds and the way they are combined to form rhythms, melodies, harmonies, and form. Topics include the nature of musical pitch, the structure of musical scales and their influence on melody, what gives rise to a sense of tonality, the complexity of rhythmic patterns, and the architecture of musical form. Student work includes building a musical instrument, programming a drum machine, writing computer code to create harmonies and timbres, and an extended music analysis project using empirical methods. Prerequisite: MUSC 101 or permission of instructor as assessed by a diagnostic exam administered at the start of the term.

  • MUSC 205 Disability in Popular Music: Representations, Roles, and Receptions

    How do public discourses around bodies and minds shape different styles of popular music? How do musicians and fans challenge ableism? Are certain disabilities more prominent in certain kinds of musics? And: can any of this even be heard? To address these questions, we will explore the life and music of artists such as Stevie Wonder, Joni Mitchell, Victoria Canal, Billie Eilish, and Django Reinhart, and examine how disability functions in subcultures such as punk, hip hop, and K-pop. Readings will be drawn from cultural disability studies, music theory, media studies, and the medical humanities.

  • MUSC 208 Computer Music and Sound

    This course surveys computer techniques for analyzing, synthesizing, manipulating, and creating musical sounds. We’ll study the basic components of digital sound: waveforms, oscillators, envelopes, delay lines, and filters. While we’ll explore the techniques and concepts of computer music in detail, our focus will be putting them to work in our creative practice, using open source computer music languages as well as digital audio workstations, according to the strengths and limitations of each music-making environment. We’ll show how computer music composition takes shape in a wide variety of styles and aesthetics, free to choose among them or create our own.

    Not offered in 2024-25

  • MUSC 211 Race, Gender, and Classical Music

    Why sing? Why learn how to play the piano? Why join a music group or campus ensemble? And how does performing and listening to music reinforce or challenge social structures and values? This class takes these questions as a starting point for investigating the history of music and its implications. We focus on a variety of genres and methods to understand the way music works in social and cultural contexts both of the past and present around the world, specifically concentrating on music of ancient times up to the nineteenth century.

    Not offered in 2024-25

  • MUSC 213 J-Pop: Listening to Music in Modern Japan

    Japanese popular music encompasses a wide variety of genres, from World War II propaganda tunes to anime soundtracks. But how does this music relate to the history of modern Japan? What is “modern” (or post-modern) about this specific music? This class will examine the creation and consumption of Japanese popular music from around 1945 to present, focusing on how popular music worked in the cultural and political milieu. Through the study of Japanese folk, jazz, rock, hip-hop, bubble gum pop, and film music, students will engage with broader historical trajectories in society. We will discuss music as it relates to issues of race, gender, and pop culture in Japan and around the world.

    Not offered in 2024-25

  • MUSC 215 Western Music and its Social Ecosystems, 1830-Present

    How does music shape society? What does it feel like to participate in musical life—as a creator, performer, listener, leader, fan, or critic? These questions will guide us as we study the history of Western music with an emphasis on social experience. We’ll explore music from the Romantic era to our contemporary moment, with our ears and eyes trained toward the repertoire’s civic and interpersonal meanings. Along the way, you’ll respond to current concert programming and curate playlists that speak to your communities on campus and beyond. Front of mind will be expansive themes of belonging and identity. 

  • MUSC 217 Opera: Stage, Screen, Recording

    Opera has something for everyone: drama, desire, politics, stagecraft, design. The medium sets life to music and reveals the music within people’s lives. In the spirit of exchange between art and reality, this course looks at the history of opera through a contemporary lens. Centering on a diverse collection of operas—and voices—from past to present, we’ll ask how modern sensibilities animate the music’s production and performance. We’ll bring concepts of relevance, risk, representation, and justice to bear on opera, with attention to media and technology. We’ll listen to recent operatic interpretations and discover how creatives are making opera new.

  • MUSC 220 Composition Studio

    This course focuses on creating new music, through several exercises as well as a substantial term composition. Class meetings reinforce key concepts, aesthetic trends, and compositional techniques, as well as provide opportunities for group feedback on works in progress. Individual instruction focuses on students’ own creative work in depth and detail.

  • MUSC 221 Electronic Music Composition

    This course focuses on creating new electronic music. We will use digital audio workstations for composition and production, grounding their use in the fundamentals of digital audio. We will listen extensively, in many genres of electronic music, applying this critical listening to our own work and our colleagues’ work. Frequent composition assignments build fundamental skills in melodic creation and development, drum programming, synthesis, and audio production. The course culminates in a term project, a stylistically unrestricted, substantial original composition.

  • MUSC 227 Perception and Cognition of Music

    Covers basic issues in auditory perception and cognition with an emphasis on the perception of musical pitch, including sensory discrimination, categorical perception, roughness and dissonance, absolute pitch, and auditory streaming. Other topics to be covered include the processing of language and music, and emotional responses to music. A grade of C- or better must be earned in both Music 227 and 228 to satisfy the LS requirement.

  • MUSC 228 Perception and Cognition of Music Lab

    An introduction to the methods of experimental and observational research in music perception and cognition. Student teams will replicate/extend classic experiments in music perception, which will involve reviewing historical and current literature, creating stimuli, running experimental trials, performing statistical analyses of data, and giving a poster presentation of their results.

  • MUSC 232 Golden Age of R & B

    A survey of rhythm and blues from 1945 to 1975, focusing on performers, composers and the music industry.

  • MUSC 233 Music in the American South Program: Music, Heritage, Capitalism

    This course instructs students in the inner workings of the music, cultural memory, and business. The goals are to expose students to a long history of music business and heritage practices that consider the history of our program sites while also examining the current landscape of music and heritage through economic lenses. Special attention is given to musical styles and critical topics that are relevant to our host cities. These include musical tourism and cultural legacy building, industry work within the current music business, and ethics and responsibility of record companies, music publishers and other profit-seeking businesses oriented toward musical histories.

    Not offered in 2024-25

  • MUSC 239 The Philosophy of Music

    What is Music, and what exactly is a “musical composition,” especially in the age of recorded music and sampling? Can music tell a story, express an emotion, or convey a proposition? And if music can do any of these things, how does it do it? Last but not least, how are we to judge the value of musical pieces and musical practices? Do we need to judge popular music differently from so-called “art” music?  To address these questions we will listen to a wide range of musical examples, from Bach and Mozart to the Beatles and Jimi Hendrix, and we will read a wide range of writings about music, from Plato, Rousseau, and Kant to current philosophers, including Scruton, Kivy, Davies, Carroll, and Gracyk.

    Not offered in 2024-25

  • MUSC 241 Music of Latin America

    This course is designed to increase your awareness of musical styles in Latin America within particular social, economic, and political contexts. We will cover topics related to popular, folkloric, classical, and indigenous musics spanning from Mexico to South America’s Southern Cone. The course will include elements of performance and dance instruction in addition to a critical examination of lived experiences across the region. No previous musical experience is necessary.

    Not offered in 2024-25

  • MUSC 244 Music Studies at the Border

    Where is music found? What can we learn about musical practices beyond the score and recording? This course introduces students to hands-on, ethnographic approaches to the study of music. We will consider the ethical, legal, interpersonal, and philosophical challenges of writing about the musical lives of others — and ourselves. Throughout the course, we will work together to design and carry out ethnographic research projects. Selected interested students will develop and carry out a project involving a significant on-site project through a significant on-site visit to the U.S./Mexico border during December. Previous coursework in music is helpful, but not required.

  • MUSC 245 Trailer: Music Studies at the Border

    A follow-up to the ethnographic project designed in MUSC 244 and carried out during the December site visit. Students will reflect on their experiences and present the results of their research.

    Not offered in 2024-25

    • 2
    • No Exploration

    • Student has completed MUSC 244 at the Border previous term with grade greater than or equal to C-.

  • MUSC 247 1950s/60s American Folk Music Revival

    Through scholarship and music-making, we’ll explore the historical bases of musical style, the role of recorded music, the social construction of a “folk music” milieu, and the music of Pete Seeger, Woody Guthrie, Phil Ochs, Bob Dylan, Joan Baez, Odetta, et al. No musical experience necessary; you need not read musical notation. Section 1 (beginning folk guitar–instruments provided) only for those with no guitar experience; Section 2 (folk workshop –provide your own instruments) if you have any experience on guitar, banjo, fiddle, mandolin, ukelele, Dobro, viola, cello, or bass.

    Not offered in 2024-25

  • MUSC 250 Piano

    Weekly one-hour lessons, with repertoire selected as appropriate for the individual student’s experience. Works from a variety of style periods may be studied, with attention to both musical and technical development. Music 250 is intended for the more advanced piano student; permission of instructor is required.

  • MUSC 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 and songs from operas, oratorios, musical theater and popular songs from Western and non-Western traditions. In addition, one studio class per week. Prerequisite: Music 151 or permission of the instructor.

  • MUSC 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 with no prior experience or lessons should take one term of class guitar (Music 197).

  • MUSC 253 Composition (Juried)

    Individual instruction focusing on developing the student's individual musical aesthetic and voice through exercises and original compositions.  Course work includes the study of compositional techniques, analysis of relevant works, and use of relevant technologies. The course is particularly directed toward the major who wishes to pursue the composition option in the Senior Integrative Exercise.

    Repeatable: This course is repeatable.

    Variable Credit: During registration in the Credits field, enter 1 for half-hour lessons or 2 for one-hour lessons.

    Not offered in 2024-25

  • MUSC 253J Composition (Juried)

    Individual instruction focusing on the student’s original compositions. Course work includes the study of compositional techniques, analysis of relevant works, and computer/MIDI/synthesizer technologies. The course is particularly directed toward the major who wishes to pursue the composition option in the Senior Integrative Exercise.

  • MUSC 255 Violin

  • MUSC 256 Viola

  • MUSC 257 Cello

  • MUSC 258 Classical String Bass

    The study of the acoustic string bass in the Classical style.

  • MUSC 259 Flute

  • MUSC 260.01 Oboe/English Horn

  • MUSC 260.02 Oboe/English Horn

  • MUSC 260.01 Oboe/English Horn

  • MUSC 260.02 Oboe/English Horn

  • MUSC 260.01 Oboe/English Horn

  • MUSC 260.02 Oboe/English Horn

  • MUSC 261 Clarinet

  • MUSC 262 Saxophone

  • MUSC 263 Bassoon

  • MUSC 264 French Horn

  • MUSC 265 Trumpet

  • MUSC 266.01 Trombone/Euphonium

  • MUSC 266.02 Trombone/Euphonium

  • MUSC 266.01 Trombone/Euphonium

  • MUSC 266.02 Trombone/Euphonium

  • MUSC 266.01 Trombone/Euphonium

  • MUSC 266.02 Trombone/Euphonium

  • MUSC 267 Tuba

  • MUSC 269 Harp

  • MUSC 270 Harpsichord

  • MUSC 271 Organ

    Basic piano skills required.

  • MUSC 272 Oud

    Advanced study of the Arab oud. Instruments are provided. Instructor’s permission required.

  • MUSC 274 Recorder

  • MUSC 275 Jazz Piano

    Study the tools for learning the jazz “language.” Learn to improvise through scale and mode study, transcription, and composition. Turn chord symbols into chord voicings and accompaniment. Explore the blues, jazz “standards,” and today’s music. Materials: staff paper, The Real Book, vol. 1, or similar fake book, and the app iReal Pro. Weekly studio class required.

  • MUSC 276 Electric & Acoustic Bass

    The study of either electric bass guitar or acoustic string bass in all contemporary styles including rock, jazz, pop, rap, and reggae.

  • MUSC 277 Jazz and Blues Guitar

    Study of chord voicings, accompanimental techniques, and solo guitar performance in the jazz idiom. Prerequisites: previous study of guitar and the ability to read music, or the permission of the instructor. Students must provide their own instruments.

  • MUSC 278 Drum Set Instruction

    Drum Set Instruction on/in jazz and popular drumming styles which use the standard drum set. Equipment available for registered students.

  • MUSC 279 Jazz Improvisation

    The study of the basic grammar and syntax of jazz improvisation styles, including transcribing solos, chord/scale materials and melodic patterns. Weekly studio class participation required.

  • MUSC 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.

  • MUSC 281 Sitar

    Beginning through advanced study of sitar in the gayaki ang style of Ustad Vilayat Khan. Previous musical experience is not necessary. Sitars are provided. Expected preparation: students should consult with their instructor before singing up for the 2-credit lessons.

  • MUSC 282 Chinese Musical Instruments

    Beginning through advanced study on traditional Chinese instruments, pipa (Chinese lute), erhu (Chinese violin), guzheng (Chinese zither), zhongruan (Chinese moon guitar), hulusi, bawu and dizi (Chinese bamboo flutes).

  • MUSC 284 American Folk Instruments

    Beginning to advanced study of technique and improvisational styles on American folk instruments. Students may study 5-string banjo (bluegrass or clawhammer style), bluegrass guitar, Dobro©, fiddle (violin, viola, cello), bass, ukulele, mandolin, and accordion. The Music Department has a single mandolin, fiddle, banjo, and guitar (and two ukuleles) available for shared use by enrolled students unable to provide their own instruments.

  • MUSC 299 Recital

    A public music recital of a minimum of thirty minutes of solo performance (some chamber music may be included). Students enrolling in 299 do so in lieu of registering for applied lessons; 299 includes nine one-hour lessons. Normally 299 would be taken in the junior or senior year, and is repeatable one time. Fees and financial aid for 299 are the same as for two-credit applied lessons.

  • MUSC 304 Party Politics: Popular Music in the Middle East

    In this research-based course, students will develop listening and analytical skills specific to music in Turkey, Iran, and Arab-majority societies. We will listen to indie rock, hip-hop, mahraganat, Arab pop, techno-dabke, and other popular styles. Topics include the role of radio technology in the Egyptian music industry; the relationship between music and nationalism; how class and gender inform musical performance; and the pleasures and politics of partying. Students will develop individual research topics related to the course (e.g., focusing on a song or artist), with the course culminating in a final research paper. No previous musical experience required.

  • MUSC 308 Seminar in Music Analysis

    An introduction to advanced analytical techniques for Western Art Music, focusing particularly on the area of musical form. Drawing on a range of sources and styles, this course will also introduce students to theoretical approaches concerning compositional schemas, semiotics, and theories of rhythm and meter. Musical forms to be considered include binary, ternary, rondo, variations, fantasies, and sonata form. At its core, this course asks: “how does music get *big*?”

    Not offered in 2024-25

  • MUSC 313 Video Game Music: History, Interpretation, Practice

    Over the decades, video game music has evolved from simple beeps and boops into a genre that has garnered millions of fans worldwide. This course traces the history of video game music aesthetics and technology. We will consider how it relates to a variety of musical traditions and engages with broader social issues. We will learn to listen for loops, styles, structures, and function in games via direct engagement with primary sources: the games themselves. The course culminates in the practical application of knowledge via a creative project. 

  • MUSC 341 Music in the American South Program: Rock Lab and Lab

    This class combines performance and academic study of rock music. In the first half of the course, we will develop simple songs in small-group coaching sessions with an in-house group performance as a midterm goal. During the second half of the course, we will make recordings of these performances. Throughout the term, we will accompany performance and recording activities with readings and discussion about aesthetics, performance practice in popular music, and mediation of recording techniques. There is a required hands-on laboratory component but no performance experience is needed. The course will accommodate students with a range of experience. 

    Not offered in 2024-25

  • MUSC 342 Creative Music Performance Seminar

    Students will prepare a creative musical performance through the exploration of sources, comparison of recordings, score analysis, and performance science. Group meetings explore the pedagogy of preparation that synthesizes intuition and intellect to create a compelling sound and interpretation. Learn to maximize the results of your efforts to improve technical and musical consistency in performance. 

    • Winter 2025
    • 3
    • ARP, Arts Practice

    • Student has completed any of the following course(s): One 200 Level Juried music lesson with a grade of C- or better.
    • CL: 300 level
    • Hector Valdivia 🏫 👤

  • MUSC 400 Integrative Exercise

    Required of senior majors. The integrative exercise may be fulfilled by completion of a significant composition, performance, or research-paper project. Students who wish to fulfill Music 400 with such projects must meet department-specified qualifying criteria.

    • Fall 2024, Winter 2025
    • S/NC
    • 6

    • Student is a Music major and has senior priority.
    • Justin London 🏫 👤