Music

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Term
Time & Day Offered
Level
Credits
Course Duration

Jazz/ Improvisation Ensemble for Instrumentalists — MPF2163.01

Instructor: jacob sacks
Days & Time: TBA
Credits: 2
This ensemble will explore extemporaneous improvisation in a jazz-oriented small group setting. Participants will play and study classic jazz compositions and standards in addition to composing and creating original works for the ensemble. A special focus of this small jazz ensemble will be on developing group interaction and musical communication skills. Another focus will be

Key to Songs — MTH2283.01

Instructor: Nicholas Brooke
Days & Time: MO,TH 10:00am-11:50am
Credits: 4

An intermediate review of theory based on a broad range of pop, classical, and jazz songs from the last centuries and from across the world. We’ll start with a primer on scales, intervals, and basic chordal moves such as the rhythm changes, then progress to chromaticism, modulation,

Klezmer Ensemble — MPF4128.01

Instructor: Joseph Alpar
Credits: 2
Klezmer is a musical tradition of the Ashkenazi Jewish communities of Central and Eastern Europe. With its breakneck dance tunes, soulful strings, and wailing horns, Klezmer has been an ever-evolving fixture of Jewish cultural life since its beginnings in the sixteenth century, incorporating elements from Ottoman Turkish music, Baroque music, Slavic and German folk dances, and

Kulintang Gong Ensemble — MPF2027.01

Instructor: Susie Ibarra
Days & Time: TBA
Credits: 2
Kulintang gong music is practiced in many styles from several groups in the Philippines, northern Indonesia. Its Philippine origins were in the 14th century where it was created as royal court music in Mindanao, the Southern island of the Philippines. Many different Indigenous tribes play kulintang music in Mindanao. This ensemble will introduce the history and culture of

Lab: Orchestrating Electronics — MIN2359.02

Instructor: Michael Wimberly
Credits: 1
This Lab for Orchestrating Electronics will focus on the theory and practice in the use of live electronics in performance. Both hardware and software strategies will be considered. Discussions include historical examples dating back to the 1950s as well Sharp's wide-ranging approaches. This lab is designed for students interested in expanding their understanding of signal

Latin American Ensemble — MPF4113.01

Instructor: Michael Wimberly
Days & Time: WE 10:00am-11:50am & WE 2:10pm-4:00pm
Credits: 4

This course will focus on the performance of Latin American music from all over the Americas, including South, Central, and North America, the Caribbean, and beyond. The ensemble will combine hands-on learning of diverse vocal and instrumental repertoire, traditional instruments (particularly percussion), and performance practices. Students will receive a thorough background

Left To Their Own Devices — MUS4803.01

Instructor: Nicholas Brooke
Credits: 2
Often choreographers are left to produce their own sounds, whether it be the ambient sounds between gestures, or a sonic collage sampled from disparate musical fabrics. This course is an intro to technical and experimental approaches to scaffolding sound for choreographers. Topics looked at will be sampling and appropriation, effective music “cuts” in the studio, mild

Legacy and 3D Audio Mixing and Production — MSR4374.01

Instructor: Cristian Amigo
Days & Time: WE 10:00am-11:50am & WE 2:10pm-4:00pm
Credits: 4

This course explores the art and science of mixing and producing audio for both emergent immersive formats and traditional legacy platforms. Students will gain hands-on experience with spatial audio technologies such as Dolby Atmos, Ambisonics, and binaural mixing, while also mastering industry-standard techniques for stereo and 5.1

Linguistics of Music — MTH4258.01

Instructor: Kitty Brazelton
Credits: 4
Students collaborate with instructor to generate a set of grammatical "rules" for various musical genres. We review existing theories and grammars of Western classical and other musics, compare parallels between 20th-c. theories of Heinrich Schenker and Noam Chomsky, and gather musical data from scores, recordings and our own transcription. The course will culminate in

Linguistics of Music — MTH4258.01

Instructor: Kitty Brazelton
Credits: 4
(Formerly "Towards a Theory of Rock") Students in this course will collaborate with instructor to generate a set of grammatical "rules" for various rock genres. To do this, we will review existing theories and grammars of Western classical and other musics. We will investigate existing scholarly studies of rock. After that, much of the course will be student-directed with a

Live Sound - Load In to Load Out — MSR4368.01

Instructor: Carly Rudzinski
Credits: 2
Students will learn all the ways the audio travels through cables, into processing equipment, through amplification and out of speakers. Processors will include compression, EQ, delay, reverb, and crossovers. Students will learn about different live sound contexts, from the band gig to theater sound, and will be setting up and breaking down small sound systems. There will be

Live Sound Technology — MSR2124.01

Instructor: Curt Wells
Credits: 2
This will be a hands-on, bare-bones, system-focused class on audio electronics. We will explore the smallest inputs to the largest outputs that are used in artistic performance. The class will focus on the technical applications of microphones, mixers, speakers and software for live productions such as plays, concerts, Dance performances and installations. Students will use

Makam and Usul — MTH4150.01

Instructor: Joseph Alpar
Credits: 2
This music theory course will introduce students to the art of makam, the melodic system of Ottoman Turkish music, and usul, its rhythmic counterpart. The course is designed to assist students in understanding makam (a melodic mode) and usul (a rhythmic cycle) in multiple ways. We will primarily learn through the meshk system, an Ottoman music educational

Making Arrangements — MCO4112.01

Instructor: Jennifer Allen
Credits: 4
In this course we will discover the basic principles of arranging for various ensembles playing in multiple genres (using horns, strings, background vocals, etc. along with a rhythm section). We will look at a wide range of notable artists working in many jazz subgenres and related styles. Students will be encouraged to creatively question existing forms and traditions in

Making Arrangements — MCO4112.01

Instructor: Bruce Williamson
Credits: 4
In this course we will discover the basic principles of arranging for various ensembles playing in multiple genres (using horns, strings, background vocals, etc. along with a rhythm section). We will look at a wide range of notable artists working in many jazz subgenres and related styles. Students will submit work using music notation and/or digital recording platforms

Making Melody — MCO4134.01

Instructor: Joseph Alpar
Credits: 2
Melodies are precise, mysterious, and magical in equal measure.  In this course we will try to lift the veil of mystery and explore practices that will aid you in the creation of your own melodies. We will do this through the lens of Irish music, an oral tradition that informs the instructor's own composition. As an oral tradition, Irish music is handed down

Making Music with Modular Soft Synths — MCO4124.01

Instructor: Sergei Tcherepnin
Credits: 2
This class will focus on historical methods of electronic music composition through a contemporary lens. We will study synthesis in depth, and the development of early analog synthesizers, while learning how these techniques have influenced contemporary software design. While the class will focus on composing, students will be expected to learn how to use Reaktor, VCV Rack, and

Making the Third Ear — MUS4356.01

Instructor: Nicholas Brooke
Credits: 2
This class will start with a grounding in the history and science of psychoacoustics. We will listen to binaural beats, watch psychostrobic flicker, create beating patterns using oscillators, and conduct other experiments in the sound studio to gain a deeper understanding of psychoacoustics. We’ll study an array of musical examples in popular culture (iDosers) and contemporary

Making the Third Ear — MUS4356.01

Instructor: Sergei Tcherepnin
Credits: 2
This class will start with a grounding in the history and science of psychoacoustics. We will listen to binaural beats, watch psychostrobic flicker, create beating patterns using oscillators, and conduct other experiments in the sound studio to gain a deeper understanding of psychoacoustics. We’ll study an array of musical examples in popular culture (iDosers) and contemporary

Mallet Percussion Ensemble — MPF4106.01

Instructor: Michael Wimberly
Credits: 4
Mallet Percussion Ensemble (MPE) creates and develops original compositions for keyboard mallet instruments using a collective improvisation process. The ensemble also learns, arranges, and presents folkloric, classical, modern, and global genres of music. Students will study marimba, xylophone, glockenspiel, vibraphone, and African balafon. Our coursework connects to music

Mallet Percussion Ensemble — MPF4106.01

Instructor: Michael Wimberly
Credits: 2
Mallet Percussion Ensemble explores a variety of compositions and techniques for the mallet keyboard instrument. This includes compositions for Marimba, Xylophone, Glockenspiel, Vibraphone, and African Balafon. Compositions are adapted from classical, jazz, and rock, as well as movie themes and popular songs. No prior experience for playing mallet keyboards is required,

Mallet Percussion Ensemble — MPF4106.01

Instructor: Michael Wimberly
Days & Time: TBA
Credits: 2
Mallet Percussion Ensemble explores a variety of compositions for the mallet keyboard instrument. This includes compositions for Marimba, Xylophone, Glockenspiel, Vibraphone, Balafon and Tubular Bells. Compositions are adapted from composers such as, Bach, Fernando Sor, Gordon Stout, Franz Schubert, Latin and African music, as well as popular songs for the ensemble. No

Mallet Percussion Ensemble — MPF4106.01

Instructor: Michael Wimberly
Credits: 4
Mallet Percussion Ensemble continues to perform folkloric, classical, modern, and global genres of music while composing and developing original work. The goal for each student is to become familiar with all of the mallet keyboard instruments, which include the marimba, xylophone, glockenspiel, vibraphone, and African balafon. Our coursework will link music theory,

Mallet Percussion Ensemble — MPF4106.01

Instructor: Michael Wimberly
Credits: 2
Mallet Percussion Ensemble performs compositions from repertoire arranged for percussion keyboard instruments, which include the Marimba, Xylophone, Glockenspiel, Vibraphone, Balafon and Tubular Bells. The ensemble will learn classical, contemporary, Latin and African music, as well as compose original compositions. No prior experience for playing mallet keyboards is required,

Mallet Percussion Ensemble — MPF4106.01

Instructor: Michael Wimberly
Credits: 2
Mallet Percussion Ensemble explores a variety of musical techniques while creating compositions for the mallet keyboard instrument. Works for mallet percussion are learned or arranged from composers such as Bach, Fernando Sor, Gordon Stout, Franz Schubert, Jobim, Miles, and popular songs. No prior experience for playing mallet keyboards is required, but reading music and