• MUSC 100: 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.

    6 credits; Argument and Inquiry Seminar, Writing Requirement; offered Fall 2020 · Andy Flory
  • 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 note and rhythmic reading, basic harmony, and develops proficiency in aural skills and elementary keyboard skills. This class will make regular use of the music computer lab for assignments. 3 credits; Arts Practice; offered Spring 2021 · Ronald Rodman
  • MUSC 103: Musicianship I

    An introduction to the basic elements of rhythm and melody, with a strong emphasis on sight reading using solfège, score reading in multiple clefs, and short dictation exercises.

    3 credits; Arts Practice; offered Fall 2020 · Ronald Rodman
  • 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.

    Prerequisites: Music 103, or permission of instructor as assessed by a diagnostic exam administered at the start of the term 2 credits; Arts Practice; offered Winter 2021 · Justin London
  • 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. 6 credits; Arts Practice; offered Fall 2020 · Andrea Mazzariello
  • MUSC 110: Theory I: The Materials of Music

    An introduction to the materials of western tonal music, with an emphasis on harmonic structure and syntax. It also covers basic harmonic syntax (through secondary dominants), two-voice counterpoint, melodic phrase structure, musical texture, and small musical forms, along with related theoretical concepts and vocabulary. Student work involves readings, listening assignments, analytical exercises, and short composition projects.

    Prerequisites: Music 103 (may be concurrently enrolled), or permission of the instructor as assessed by a diagnostic exam administered at the start of term 6 credits; Literary/Artistic Analysis; offered Fall 2020 · Ronald Rodman
  • MUSC 111: Music and Storytelling in the Western World

    Music is about relationships. Music is literally a series of relationships between organized sounds, but beyond that it is also about relationships between people. Through music, human beings tell stories about who they are, where they come from, what they value, and what dreams they hold for the future. In this course, the concept of storytelling via organized sound provides a framework for students to understand music in the “Western” world and its relationship to people and their values at given times and places. Instead of a chronological history, this course explores a series of topics where music and narrative intersect: mythology, dance, religion, politics, instrumental music, and audiovisual genres. Students will acquire the ability to write about sound and its meaning via blog posts, interpretive listening assignments, and a final creative project that incorporates personal experience with musical description. An ability to read music not required.

    6 credits; Literary/Artistic Analysis, Writing Requirement; offered Spring 2021 · Brooke McCorkle
  • MUSC 115: Listening to the Movies

    We all watch movies, whether it’s in a theater, on television, a computer, or a smart phone. But we rarely listen to movies. This class is an introduction to film music and sound and how it changed based on technological and stylistic developments from the silent era to the present day. Throughout the term, students will watch, speak, and write about a variety of films in order to develop literacy in theories of film music and sound. Class assignments including quizzes, cue charts, and short essays will culminate in a final project that may take the form of an analytical term paper or creative project designed by the student in consultation with the instructor. An ability to read music not required.

    6 credits; Literary/Artistic Analysis, Writing Requirement; offered Spring 2021 · Brooke McCorkle
  • MUSC 121: Songs of Love, State, and Self

    Humble in means but mighty in meaning, the song has given voice to every human emotion. Devout believers use song for worship, prima donnas sing for love or tragedy, and popular songsters tell stories through song. Anthems convey national identity while show-tunes offer an escape from reality. In this course students will encounter many types of song and learn how they are composed, where they are sung, and what power they have over us. Class activities include discussion and singing, and assignments include song identification and analysis.

    Prerequisites: Ability to read music not required. 6 credits; Literary/Artistic Analysis, Writing Requirement; not offered 2020–2021
  • MUSC 123: Disney Movies and Music

    An exploration of the music in Disney movies. Topics covered will include the history of Walt Disney studios, the technique of Mickey-mousing, use of classical music, original scores, and Disney songs. Special attention will be given to Disney movies since The Little Mermaid. In the later movies, we will ask how music tells stories and contributes to the representation of race/ethnicity, class, and gender/sexuality.

    6 credits; Literary/Artistic Analysis, Intercultural Domestic Studies; not offered 2020–2021
  • MUSC 126: America’s Music

    A survey of American music with particular attention to the interaction of the folk, popular, and classical realms. No musical experience required.

    6 credits; Writing Requirement, Literary/Artistic Analysis, Intercultural Domestic Studies; offered Winter 2021 · Andy Flory
  • MUSC 128: Conducting

    Learn the fundamentals of instrumental and choral conducting including gesture, beat patterns, score reading, and beginning rehearsal techniques. Students in this course will form a laboratory ensemble that participants lead as a means of gaining conducting experience and experimenting with the relationship between gesture and sound.

    Prerequisites: Ability to read music and active participation in a faculty conducted ensemble, or permission of instructor. 3 credits; Arts Practice; offered Spring 2021 · Matthew Olson
  • MUSC 130: The History of Jazz

    A survey of jazz from its beginnings to the present day focusing on the performer/composers and their music. 6 credits; Literary/Artistic Analysis, Writing Requirement, Intercultural Domestic Studies; offered Winter 2021 · Andy Flory
  • 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. 6 credits; Literary/Artistic Analysis, Intercultural Domestic Studies; not offered 2020–2021
  • 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. 

    6 credits; Literary/Artistic Analysis, Writing Requirement, Intercultural Domestic Studies; not offered 2020–2021
  • MUSC 140: Ethnomusicology and the World’s Music

    This course introduces both the world’s musical diversity and the discipline of ethnomusicology. Drawing on musics of Native America, Indonesia, India, and the Caribbean, among others, we will study the written and recorded/filmed work of ethnomusicologists from roughly 1950-present, focusing on theories and methods. Though geographically wide-ranging, these efforts are connected by themes of tradition, globalization, religion, politics, gender, youth, and decolonization. Students will engage multiple forms of ethnomusicological scholarship, develop critical listening skills, and learn to convey their growing understanding of musical elements in writing and oral presentation. No musical experience necessary. 

    6 credits; Literary/Artistic Analysis, International Studies, Writing Requirement; not offered 2020–2021
  • MUSC 142: Musical Theater Practicum

    The Last Five Years, Jason Robert Brown’s musical about a writer/aspiring Broadway performer couple, dramatizes the exhilaration and frustration of going to audition after audition on the way to a big break. This theme is exploited countless times in American musicals, precisely because singers and actors face countless auditions. In this course, students will gain historical and theoretical knowledge of the musical theater genre, a deeper knowledge of the craft, and be better prepared to face auditions of any kind. Final projects may be small-scale performances of solos, duets, or a full-class ensemble number.

    6 credits; Arts Practice; not offered 2020–2021
  • MUSC 144: Music and Migration

    This course introduces students to a variety of musics as they intersect with, arise from, or speak to migration. We will consider migration of peoples, of musical forms or genres, of instruments and other music technologies, and of musicians themselves. Our study might include such genres as ska and tango, instruments such as the piano, guitar, or accordion, and musics of the African diaspora, of the Choctaw Nation, of Iran, and of China, for example. No musical experience required.

    6 credits; not offered 2020–2021
  • 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, chords and their interval content, the complexity of rhythmic patterns, and chromatic harmony and modulation. 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.

    Prerequisites: Music 103, or permission of the instructor as assessed by a diagnostic exam administered at the start of the term 6 credits; Literary/Artistic Analysis, Writing Requirement, Quantitative Reasoning Encounter; offered Winter 2021 · Justin London
  • 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.

    Prerequisites: Music 108 or Computer Science 111 or Instructor permission 6 credits; Arts Practice; offered Fall 2020 · Andrea Mazzariello
  • MUSC 209: Interactive Music Systems

    Technological tools assist and mediate a great diversity of musical compositions and performances. This course focuses specifically on the dynamic uses of technology, and systems that require significant interaction between composer/performer and software/hardware. The course will focus especially on dataflow programming in the Max environment, creating custom software for use in performing original work, informed by our investigation into relevant model compositions as well as the principles of digital audio. 

    Prerequisites: A willingness to perform original music on an instrument or voice and Music 108 or Computer Science 111, or instructor consent 6 credits; Arts Practice; offered Spring 2021 · Andrea Mazzariello
  • MUSC 210: Women and Gender in Western Art Music

    This course explores the ways gender ideologies are enmeshed in the history of Western art music and how these ideologies resonate in music culture today. Drawing on methods from feminist and queer theory and criticism, the class considers representations of gender, the body, and sexuality by male, female, and transgender musicians. Analysis will focus on musical contributions by female and transgender musicians.

    Prerequisites: Previous classroom course in Music department or instructor permission; not open to students who have taken Music 100 Women and Classical Music 6 credits; Humanistic Inquiry, Writing Requirement; not offered 2020–2021
  • MUSC 211: Western Music and its Social Ecosystems, 1600-1830

    Concert hall programming (and music history textbooks) typically emphasize “Western” musical composers and their works; this curriculum expands students’ understanding of “Western” music by also investigating the role of performers and consumer-listeners. The social, political, economic and cultural ecosystems in which “Western” music evolved provides a framework for understanding the relationships between composers, works, performers, and listeners both at the time of a work’s premiere and today. This course concentrates on music ecosystems from around 1600-1830 and is organized around broad themes in music history: technology, genre, theater, improvisation, economics, religion, and media culture. This format encourages students to interrogate the contemporary canon and its underlying implications. Through a variety of assignments including quizzes, blog posts, score analyses, creative responses, and a final project, students will develop critical thinking, research, and communication skills to help them be successful in their various musical endeavors.

    Prerequisites: Music 110, 204 or instructor consent 6 credits; Literary/Artistic Analysis, Writing Requirement; offered Winter 2021 · Brooke McCorkle
  • MUSC 212: Sex, Music, and the Virtuoso

    From Paganini to Esperanza, Liszt to Lang Lang, Wieck to Hahn, audiences have long adored and obsessed over musical virtuosity.  But what do we mean when we call someone a musical virtuoso? How is virtuosity enmeshed with ideas of genius, race, and gender? How have both historical and contemporary discourses conflated musical and sexual prowess? This class explores the above questions, concentrating on music and figures operating within the world of Western art music along with references to jazz and popular music. An ability to read music is required.

    Prerequisites: Music 110 or 204 highly desirable 6 credits; Literary/Artistic Analysis, Writing Requirement; not offered 2020–2021
  • MUSC 213: Music and Religion

    Music and religion are united through philosophical precepts, but also through practical means. In this course we will encounter philosophical ideas about music as well as examine sacred musical practices of various religions, including Christian, Jewish, Muslim, and Hindu. Students will analyze what function music holds in liturgies of many traditions. The final project will involve visiting local services to observe first-hand how religions use music. No previous music experience required.

    6 credits; Literary/Artistic Analysis; not offered 2020–2021
  • MUSC 215: Music Theater in America

    This course outlines the history of the musical from Tin Pan Alley, through the golden age of Broadway with Rodgers and Hammerstein, to the current sensation “Hamilton,” passing through the works of Stephen Sondheim. We will study the development of this hybrid genre by considering musical elements such as form, instrumentation, and harmony as well as dramatic, choreographic, and staging components. Additionally, social questions such as the representation of women and minority cultures, as they concern the works themselves and their audiences, will guide our readings and class discussion. Ability to read music not required.

    6 credits; Literary/Artistic Analysis, Writing Requirement, Intercultural Domestic Studies; not offered 2020–2021
  • MUSC 216: God, Emotion, and Meaning in Seventeenth and Eighteenth-Century Music

    What is it about the music of a Mass or cantata that inspires a feeling of reverence? What about an opera’s music creates drama? What emotions can be spurred by listening to a symphony? In this class, students will encounter different genres and styles of music from the Baroque and Classical period and ask what—and how—each one communicates to its audience. Repertory will be drawn from Bach, Gluck, Elisabeth Jacquet de la Guerre, Mozart, Haydn, and Beethoven and will be placed in the context of major intellectual and political movements.

    Prerequisites: Music 110 or Music 201 or Music 204 or instructor permission 6 credits; Literary/Artistic Analysis, Writing Requirement, International Studies; not offered 2020–2021
  • MUSC 217: Opera in the News

    What does opera mean to us today? This class examines the history of western opera by focusing on works and productions that have been catapulted into the news in the last five years. “Houston Grand Opera stages the perfect Don Giovanni for the #MeToo era!” “Madama Butterfly like never before: Sung in Japanese and English!” “Hungarian State Opera tries to whitewash Porgy and Bess!” Students will explore the scandals, spectacle, and power dynamics that have always been embedded in the operatic tradition, and the ways that twenty-first century opera companies are attempting to reclaim opera’s relevance.

    Prerequisites: None, ability to read music is not necessary 6 credits; Literary/Artistic Analysis, Writing Requirement; not offered 2020–2021
  • MUSC 218: Listening to Dance Music

    This course explores the relationship between western art music and social dance, staged productions, or stylized concert genres based on social dance and staged productions. Students will examine how bodies have moved to music by asking the questions: which music? and which bodies? Repertoire will range from sixteenth-century French court ballets, to the un-danceable waltzes of Chopin and Brahms, to Hamilton, where hip hop meets colonial American country dance.

    6 credits; Literary/Artistic Analysis, Writing Requirement; not offered 2020–2021
  • MUSC 219: The Musical Avant-Garde

    “Piano Piece for David Tudor #3: most of them were very old grasshoppers.” –La Monte Young (1960). What is an avant-garde? How can music be “ahead of its time”? In this class, students will explore the histories, aesthetics, and socio-cultural contexts of musical avant-gardes and musical experimentalism post-WWII. While the course focuses on art music of the 1950s-1970s (from concert pieces by Stockhausen and Cage, to the “intermedial” art forms promoted by Fluxus, to the avant-jazz of Ornette Coleman and John Coltrane), students will also consider what a musical avant-garde in 2020 might sound like, look like, or act like.

    6 credits; Literary/Artistic Analysis, Writing Requirement; not offered 2020–2021
  • 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.

    Prerequisites: Music 110, 204 or instructor permission 6 credits; Arts Practice; offered Winter 2021 · Andrea Mazzariello
  • MUSC 221: Electronic Music Composition

    This course focuses on making new electronic music. We will use digital audio workstations for composition and production as well as other technological tools and strategies, exploring the use of outboard hardware, various programming environments, and electroacoustic performance practices. Short composition assignments build fundamental skills in melodic development, drum programming, genre-specific harmonic motion, and audio production. The course culminates in a term project, a stylistically unrestricted, substantial original composition.

    Prerequisites: Music 108, Music 110 or instructor consent 3 credits; Arts Practice; offered Fall 2020 · Andrea Mazzariello
  • MUSC 222: Composing for Ad Hoc Ensemble

    In this composition course, we will create music for ourselves to perform. The members of the class constitute the Ad Hoc Ensemble; we will begin by writing small studies for individual instruments or voices in this group, and methodically build to composing for the entire ensemble. We will focus on idiomatic instrumental writing and orchestration, and will explore both traditional and experimental approaches to notation. 

    Prerequisites: Music 110 or instructor permission 3 credits; Arts Practice; offered Spring 2021 · Andrea Mazzariello
  • MUSC 223: Vocal Counterpoint

    In this composition course, we will write for (our own) singing voices, anchoring our writing to various traditions of vocal part writing while developing our own idiosyncratic approaches. We will move methodically from singing single lines against drones, to creating two-, three-, and four-part compositions, culminating in a substantial composition for multiple voices per part. We will sing constantly to reinforce key concepts and to hear our works in progress, and will base our analysis of our own compositions as well as more canonical works on bringing the music to life through vocal performance.

    Prerequisites: Ability and willingness to sing from score, and Music 110 or instructor permission 3 credits; Arts Practice; not offered 2020–2021
  • MUSC 224: Collaborative Composition in Community Partnership

    In this composition course, students will co-create music with youth at The Key, a youth-led, youth services organization in downtown Northfield. Members of the class will visit regularly to make and share music, and will work towards a substantial collaborative composition, while also creating smaller projects throughout the term. To support this work, we will study model compositions that leave key parameters open, such as instrumentation and ensemble size, or that use alternate notation systems, or that depend on structured improvisation. We will also explore various technological tools that can extend our collaborative capabilities and that can assist us in documenting and presenting our collaborative work.

    Prerequisites: Music 108 or Music 110 or instructor consent 6 credits; Arts Practice; offered Winter 2021 · Andrea Mazzariello
  • 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. Prerequisites: A previous course in Music or Psychology, or instructor permission; Concurrent registration in Music 228 6 credits; Quantitative Reasoning Encounter, Science with Lab; offered Spring 2021 · Justin London
  • 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. A grade of C- or better must be earned in both Music 227 and 228 to satisfy the LS requirement. Prerequisites: Concurrent registration in Music 227 2 credits; Science with Lab, Quantitative Reasoning Encounter; offered Spring 2021 · Justin London
  • 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.

    6 credits; Literary/Artistic Analysis, Writing Requirement, Intercultural Domestic Studies; offered Spring 2021 · Andy Flory
  • 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.

    Prerequisites: Previous music or philosophy course or instructor permission 6 credits; Literary/Artistic Analysis, Writing Requirement; not offered 2020–2021
  • MUSC 240: Music in Health, Disability, and Disease

    We’ll investigate music’s relationships to health, disability, and disease using scholarly articles, documentaries, historical archives, and current events. How does musical activity promote or enhance health in everyday life? How do various disabilities shape musical experience? How can music intervene in disease processes? Our inquiry will include the many musical responses to and adaptations necessitated by COVID-19. We will consider the place of sound and music as interventions in systemic racism, increasingly recognized as a public health threat. Students will complete a research paper and presentation on a topic of their choosing, guided throughout the term.

    6 credits; Social Inquiry, Writing Requirement, Intercultural Domestic Studies; offered Fall 2020 · Melinda Russell
  • MUSC 245: Tradition, Innovation, and Globalization in African Music

    Through reading, listening, watching, and playing, we explore African music and developments in African musical life. Using the works of canonical and emerging scholars, we will examine music with particular attention to its intersections with health, technology, citizenship, and gender roles. Students will also learn elements of West African percussion and Shona karimba through applied study. No experience necessary.

    6 credits; International Studies, Arts Practice; offered Winter 2021 · Melinda Russell
  • MUSC 247: 1950s/60s American Folk Music Revival

    Explores 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, et al. No musical experience necessary; you need not read musical notation. Includes one day per week of applied instruction: Section 1 (beginning folk guitar–instruments provided) only for those with zero 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.

    6 credits; Arts Practice, Writing Requirement, Intercultural Domestic Studies; offered Spring 2021 · Melinda Russell
  • MUSC 248: Music of South Asia

    This course focuses on South Asian musical traditions including qawwali, folk and popular musics, and the classical Hindustani and Carnatic traditions of North and South India. We will consider the historical and cultural contexts of several genres, read the work of scholars from various disciplines, and study relevant audio and video. Students will learn rudimentary theory of Indian classical music, understand its twentieth and twenty-first century developments, and develop listening skills to enable recognition of major genres, styles, and artists. One day a week will be devoted to applied study of Indian vocal raga. No musical background required.

    6 credits; Arts Practice, International Studies; offered Fall 2020 · Melinda Russell
  • MUSC 308: Seminar in Music Analysis

    An introduction to advanced analytical techniques for larger formal structure in Western Art Music repertoire from the classic, romantic and early twentieth century. Musical forms to be considered are binary, ternary, rondo, and variation forms, with particular emphasis on theories and analyses of sonata forms of eighteenth and nineteenth century music.

    Prerequisites: Music 110 or 204 or Instructor consent 6 credits; Literary/Artistic Analysis; not offered 2020–2021
  • MUSC 311: Art Music and Power

    In the twentieth century, the U.S. and Western Europe saw a sharp rise in totalitarian governments that weaponized all parts of culture as part of their quest for ultimate control. These governments used music as propaganda and hired art composers whose skill could demonstrate the preeminence of their homeland, and who were required to pledge ideological loyalty. In this class, students will conduct research on twentieth-century art music that was used to promote or subvert state authority. They will seek to understand aesthetics, identity, contracts, social networks, musical form and style, and reception.

    Prerequisites: Ability to read music or instructor permission 6 credits; Literary/Artistic Analysis, Writing Requirement, International Studies; not offered 2020–2021
  • MUSC 312: Romantic Music

    An examination of western art music of the nineteenth and twentieth centuries, including Schubert, Berlioz, Brahms, and Wagner.

    Prerequisites: Music 110 or 204 or instructor permission 6 credits; Literary/Artistic Analysis, Writing Requirement; not offered 2020–2021
  • MUSC 332: Motown

    A research-based course focused on the people, music, and cultural contributions of the Motown Record Company from its antecedents throughout the mid-1980s.

    Prerequisites: The ability to read music and a previous music course, or permission of the instructor 6 credits; Literary/Artistic Analysis, Writing Requirement, Intercultural Domestic Studies; not offered 2020–2021
  • MUSC 334: Marvin Gaye

    This is a research-based course focused on the music and creative practices of Marvin Gaye, one of the most famous and successful popular vocalists of the 1960s and 1970s. We will begin with a furious survey of Gaye’s life and music, and move quickly into more critical readings. Along the way, students will develop individual research topics with the assistance of the instructor, and present findings to the group on a weekly basis. The seminar will culminate with individual student research presentations and a well-crafted research paper on a topic related to Gaye.

    Prerequisites: The ability to read music and a previous music course, or instructor consent 6 credits; Literary/Artistic Analysis, Writing Requirement, Intercultural Domestic Studies; offered Fall 2020, Winter 2021 · Andy Flory
  • MUSC 336: Moldy Figs and the Birth of Jazz Criticism

    In this course, students will investigate the interest of white literati in jazz during the 1930s and 1940 through the lens of former Carleton English professor Jack Lucas. A writer for the well-known jazz appreciation magazine Down Beat, Lucas taught courses about jazz in the 1950s, and donated his large historic record collection to the College. We will read early written criticism and consider issues of canonization of jazz. Students will create their own compilation of early jazz recordings according to a theme, revisiting a common form of agency among jazz critics during the 1950s. 6 credits; HI, WR2

    Prerequisites: Music 126 not offered 2020–2021
  • MUSC 337: Music in Social Movements

    How, specifically, is music instrumental in social change? What musical choices are made, and by whom? How are new musics made, and old musics repackaged, to help mobilize social movements and create collective identity? We’ll approach these questions through the work of diverse scholars and participants, through focused listening, and ultimately through guided student research projects. Among the social/musical movements we’ll consider: Nueva cancíon, Rastafari, anti-Apartheid; the labor, civil rights, women’s, anti-war, anti-nuclear and environmental movements, the Black Arts Movement, American Indian, Jesus, Hippie, and white nationalist Movements, and Black Lives Matter. No musical experience or previous coursework required.  

    6 credits; Writing Requirement, Literary/Artistic Analysis, Intercultural Domestic Studies; offered Spring 2021 · Melinda Russell
  • MUSC 340: Advanced Composition Seminar

    An advanced seminar in music composition for students with previous course work or compositional experience. Class will meet weekly as a group as well as individually with the instructor to work on compositional projects. Students will compose works in a range of styles and using a variety of media.

    Prerequisites: Music 208, 220 or instructor permission 6 credits; Arts Practice; not offered 2020–2021
  • MUSC 341: Rock Lab and Lab

    This class combines performance and academic study of rock music. In the first half of the course, we will learn to perform simple songs in small-group coaching sessions with a polished public 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 rock music, and mediation of recording techniques, all extraordinarily rich topics in popular music studies. No performance experience is needed. The course will accommodate students with a range of experience. Students will be grouped according to background, interest, and ability. There is a required hands-on laboratory component, which will be assigned before the start of the course. In these smaller groups, students will perform, record, and work with sound in small groups. Work will include experimentation with electric instruments, amplifiers, synthesizers, microphones, recording techniques, performance practice issues, musical production, mixing, and mastering.

    6 credits; Arts Practice, Intercultural Domestic Studies; not offered 2020–2021
  • MUSC 342: Creative Music Performance Seminar

    Over the course of the term, each student will prepare the performance of a solo work, informed by the exploration of sources, comparison of recordings, score analysis, and performance science. Group meetings explore the pedagogy of musical, psychological, and intellectual preparation, and will guide improvement in technical and musical consistency during performance. Open to performers of all genres of applied music taught in the Carleton music department.

    Prerequisites: One term of 2 credit juried lessons on any instrument/voice or permission of instructor 3 credits; Arts Practice; offered Winter 2021 · 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. 

    6 credits; S/NC; offered Fall 2020, Winter 2021, Spring 2021 · Ronald Rodman