• MUSC 100: The Music That Isn’t There

    This course interrogates the ways we listen to music. It turns specifically to ideas, structures, and histories that aren’t explicitly articulated by the notes on the page or the sounds in the air, but that seem to want to travel with the music nonetheless. We’ll animate the concept of dialogic form through analysis based on active listening, colliding, for example, Mozart with Joni Mitchell. We’ll think about punk rock, engage theories of sampling, and place avant-garde, experimental work in context. By talking and especially writing through these ideas, you’ll critique, support, and even transform your listening practice. 

    6 credits; Argument and Inquiry Seminar, Writing Requirement; offered Fall 2019 · Andrea Mazzariello
  • 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 2020 · Matthew Olson
  • 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.

    Prerequisites: The ability to read music as assessed by a diagnostic exam administered at the start of the term 2 credits; Arts Practice; offered Fall 2019 · Matthew Olson
  • MUSC 104: Musicianship II

    Continuation of Musicianship I. More advanced solfège is introduced, including chromaticism, and longer dictation exercises which introduce standard melodic schemas. Some harmonic dictation will also be included.

    Prerequisites: Music 103, 200 and the ability to read music, as assessed by a diagnostic exam administered at the start of the term 2 credits; Arts Practice; offered Winter 2020 · Matthew Olson
  • 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 Winter 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 phrase structure, musical texture, and small musical forms, along with basic theoretical concepts and vocabulary. Student work involves readings, listening assignments, analytical exercises, and short composition projects.

    Prerequisites: The ability to read music, as assessed by a diagnositc exam administered at the start of the term 6 credits; Literary/Artistic Analysis; offered Fall 2019 · Andrea Mazzariello
  • MUSC 111: Smashing the Idols: A History of “Western Art Music”

    This course introduces students to the different ideologies at play in the curation of a canon of “Western art music” from antiquity to the present. Students will consider examples from the museum of musical works and beyond. The class interrogates music from a variety of angles including philosophical, socio-cultural, and material-historical. Creative projects and interpretive listening assignments are the primary mode of evaluation. An ability to read music not required.

    6 credits; Literary/Artistic Analysis, Writing Requirement, Literary/Artistic Analysis, Writing Requirement; offered Fall 2019, Spring 2020 · Caitlin Schmid
  • MUSC 115: Listening to the Movies

    This course explores the history and development of film music along with theories of how music contributes to the meaning of moving images and narrative scenes. The primary focus of the course will be on film music in the U.S., but notable film scores from Europe and Asia will also be discussed. The film music history covers historical periods from the pre-cinematic Vaudeville era through the postmodern films of the early twenty-first century. Cross-cutting this chronological history will be discussion of film musicals as a separate genre. Ability to read music not required.

    6 credits; Literary/Artistic Analysis, Writing Requirement; offered Fall 2019 · Ronald Rodman
  • MUSC 120: A History of Opera: Stage, Screen, Recording

    Pure pleasure or pure torture: Opera is said to be both. Music 120 is an introduction to opera based on its 400-year history from 1600 to the present. Issues covered include the relationship between words, action, and music in opera; singers and their power; opera as spectacle; race, gender and opera; opera in film; and the experience of live performance. This course will focus on specific repertoire from the classical tradition and will introduce students to a broad range of analytical methods, and cultural contexts. The course is open to all students and the ability to read music is not required.

    6 credits; Literary/Artistic Analysis, Writing Requirement; not offered 2019–2020 · 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.

    6 credits; Literary/Artistic Analysis, International Studies; not offered 2019–2020
  • 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 2019–2020
  • 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 2020 · Andy Flory
  • 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; not offered 2019–2020
  • 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; offered Spring 2020 · Justin London
  • 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; offered Fall 2019 · Andy Flory
  • 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 2019–2020
  • 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 2019–2020
  • MUSC 144: Music/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.

    not offered 2019–2020
  • 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 spectral composition of musical pitches, the structure of musical scales and their influence on melody, chords and their interval content, and the symmetry and complexity of rhythmic patterns. Student work includes building a musical instrument, programming a drum machine, analyzing the statistical distribution of pitches in a folksong corpus, and form in the music of the Grateful Dead.

    Prerequisites: The ability to read music, 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 2020 · 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 Spring 2020 · 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; offered Spring 2020 · Brooke McCorkle
  • MUSC 211: Baroque and Classical Music

    This course provides an introduction to the music of the Baroque and Classical periods. Students will learn about musical form, expressive conventions such as the doctrine of affections and musical topoi, performance practice, and the social function of music. We will encounter examples from keyboard repertory, dance music (both court ballet and aristocratic social dance), theater music, the symphony, and chamber music.

    Prerequisites: Music 201, 204 or instructor permission 6 credits; Literary/Artistic Analysis, Writing Requirement; offered Winter 2020, Spring 2020
  • 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 2019–2020 · Brooke McCorkle
  • 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 2019–2020
  • 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 2019–2020
  • 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 2019–2020
  • 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; offered Spring 2020 · Caitlin Schmid
  • 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; offered Winter 2020 · Caitlin Schmid
  • 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; offered Winter 2020 · Caitlin Schmid
  • 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 117, or instructor permission 6 credits; Arts Practice; not offered 2019–2020
  • MUSC 221: Electronic Music Composition

    This course focuses on making new electronic music. We’ll 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 2019 · Andrea Mazzariello
  • MUSC 222: Composing for Ad Hoc Ensemble

    In this composition course, we’ll create music for ourselves to perform. The members of the class constitute the Ad Hoc Ensemble; we’ll begin by writing small studies for individual instruments or voices in this group, and methodically build to composing for the entire ensemble. We’ll 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; not offered 2019–2020 · Andrea Mazzariello
  • MUSC 223: Vocal Counterpoint

    In this composition course, we’ll write for (our own) singing voices, anchoring our writing to various traditions of vocal part writing while developing our own idiosyncratic approaches. We’ll 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’ll 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; offered Spring 2020 · 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; not offered 2019–2020 · 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; not offered 2019–2020 · 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; not offered 2019–2020
  • 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; offered Fall 2019 · Justin London
  • MUSC 240: World Music/Ethnomusicology

    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.

    not offered 2019–2020
  • MUSC 245: Music of Africa

    The study of traditional and popular musics of sub-Saharan Africa, through reading, listening, watching, and playing. Using the works of canonical and contemporary scholars, we’ll examine music with particular attention to its intersections with technology, ethnic identity, political life, religion, and gender roles. Students will also learn about West African percussion and Shona karimba through applied study. No experience necessary. 

    6 credits; International Studies, Arts Practice; not offered 2019–2020
  • 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 Winter 2020 · 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 Spring 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; offered Winter 2020 · Justin London
  • 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 2019–2020
  • 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 2019–2020
  • 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 2019–2020
  • 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 2019–2020
  • 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 2020 · 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 2019–2020
  • 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; offered Spring 2020 · Andy Flory
  • 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 2020 · Nikki Melville
  • 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 2019, Winter 2020, Spring 2020 · Andrea Mazzariello, Melinda Russell, Gao Hong, Ronald Rodman