Music

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Term
Time & Day Offered
Level
Credits
Course Duration

Musical Taste and Monetization – The Business Side of Music — MHI2244.01

Instructor: Michael Wimberly
Credits: 2
How do we find the music we like? Recommendations from friends? Listening to the opening band at a live concert? Movies? Video games? Algorithms? Music is everywhere. But (as of 2024), when more than 100,000 tracks are being uploaded every day to digital streaming platforms and Spotify gives us access to over 100 million tracks, the chances of encountering a piece of music

Musical Taste and Transformation: the Self, Algorithms and the Human Connection — MHI2254.01

Instructor: Carly Rudzinski
Credits: 1
What affects our tastes? Why do we like the music we like? How do we discover music? How effective are algorithms? Using music as the entry point, we will try to answer these questions by focusing on the self, and by digging into the newest research regarding music, media and science. The aim of the course is to become more aware of our freedom, or the lack

Musical Taste and Transformation: the Self, Algorithms and the Human Connection — MHI2254.02

Instructor: Michael Wimberly
Credits: 1
With so much recorded music available at our fingertips, recommender systems such as algorithmic playlists have become a routine part of our daily lives. By focusing on the self and examining our own listening history and habits, this course will build a chain of musical works which will allow us to investigate how we encounter music and become more aware of what actually

Musical Theatre Writing - Book Lyrics — DRA4154.01

Instructor: Sarah Hammond
Credits: 4
"Words can be graceful, but music is grace itself. Music is a blessing that enters the soul through the ear." -Tony Kushner, from the foreword to Caroline or Change How do we write words that sing? What drives a character to sing? How can a words-writer best use the constraints of the musical form to make a character come alive in the theater? In this creative writing course,

Musicianship — MFN2112.02; section 2

Instructor:
Credits: 2
This course will introduce those with little or no musical training to the basics of music, through training in notation, aural skills, keyboard skills, sight singing, and harmony. Corequisite: Students must participate in Music Workshop, T 6:30 – 8:00pm.

Musicianship — MFN2112.01; section 1

Instructor: Evan Williams, Kitty Brazelton
Credits: 2
This course will introduce those with little or no musical training to the basics of music, through training in notation, aural skills, keyboard skills, sight singing, and harmony. Corequisite: Students must participate in Music Workshop, T 6:30 - 8:00pm.

Musing on Miles - An American icon — MHI2214.01

Instructor: Michael Wimberly
Days & Time: TH 10:00am-11:50am
Credits: 2

Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American icon whose approach and innovation on the trumpet set him apart from the mainstream. Davis explored new approaches to creating and composing music. Davis was a trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. When

New Modes of Listening — MTH2273.01

Instructor: Andrew Greenwald
Credits: 2
This is a music-centric course for those interested in investigating new ways of thinking about and listening to music. Our received modes of comprehension will be questioned by theories of reception, network, and system in diverse fields of inquiry. The relationship of form and content in numerous musical works will act as a testing ground for developing these modes. Together

Odd Times — MPF4103.01

Instructor: Bruce Williamson
Credits: 2
This will be a performance-oriented ensemble exploring the rich and varied tradition of music written in odd time signatures (3/4, 5/4, 7/4, 9/8, 11/8 to name a few). We will choose songs from the folk traditions of Turkey, Bulgaria and other parts of the world, then look at how jazz composers started to embrace these non-duple meters (and still do so today). By examining and

Of Sound and Nature — MET4102.01

Instructor: Blake Jones
Credits: 4
Sound is critical to the survival, social structure, and well-being of many organisms, human and non-human alike. In this interdisciplinary course we will examine how animals, plants, humans, and other forms of life impact one another through the calls, songs, and other vibrations they make. Using various case studies about music, sound, and society in Papua New Guinea,

Of Sound and Nature — MET4102.01

Instructor: Blake Jones
Credits: 4
Sound is critical to the survival, social structure, and well-being of many organisms, human and non-human alike. In this interdisciplinary course we will examine how animals, plants, humans, and other forms of life impact one another through the calls, songs, and other vibrations they make. Using various case studies about music, sound, and society in Papua New Guinea,

Orchestration —

Instructor: Nicholas Brooke
Credits: 2
A primer in orchestration, for students who are selected to write for Sage City Symphony. We will pore over the 19th and 20th century orchestral repertoire, getting to know instruments, ranges, and agilities. Analysis, piano reduction, and orchestration from grand staff will be used to internalize and hear orchestration. Students will be expected to create and get feedback on

Orchestration — MCO4133.01

Instructor: Nicholas Brooke
Days & Time: WE 4:10pm-6:00pm
Credits: 2

A primer in orchestration, for students who are selected to write for Sage City Symphony. We will pore over the 19th and 20th century orchestral repertoire, getting to know instruments, ranges, and agilities. Analysis, piano reduction, and orchestration from grand staff will be used to internalize and hear orchestration. Students will be expected to create and

Orchestration — MUS4013.01

Instructor: Nick Brooke
Credits: 2
A primer in orchestration, for students who are selected to write for Sage City Symphony for their March 2018 concert. We will pore over the 19th and 20th century orchestral repertoire, getting to know instruments, ranges, and agilities. Analysis, piano reduction, and orchestration from grand staff will be used to internalize and hear 

Orchestration — MCO4133.01

Instructor: Nicholas Brooke
Credits: 2
A primer in orchestration, for students who are selected to write for Sage City Symphony. We will pore over the 19th and 20th century orchestral repertoire, getting to know instruments, ranges, and agilities. Analysis, piano reduction, and orchestration from grand staff will be used to internalize and hear orchestration. Students will be expected to create and get feedback on

Orchestration — MUS4013.01

Instructor: Nicholas Brooke
Credits: 2
A primer in orchestration, for students who are selected to write for Sage City Symphony for their Spring concert. We will pore over the 19th and 20th century orchestral repertoire, getting to know instruments, ranges, and agilities. Analysis, piano reduction, and orchestration from grand staff will be used to internalize and hear orchestration. Students will be expected

Orchestration — MUS4013.01

Instructor: Nick Brooke
Days & Time: TBA
Credits: 2
A primer in orchestration, for students who are selected to write for Sage City Symphony for their March 2016 concert. We will pore over the 19th and 20th century orchestral repertoire, getting to know instruments, ranges, and agilities. Analysis, piano reduction, and orchestration from grand staff will be used to internalize and hear orchestration

Paris to Ars Nova — MTH4104.01

Instructor: Kitty Brazelton
Credits: 4
Begin with the Notre Dame School composers in Paris at the end of the 12th century. Construct a narrative for the shape of musical thought as it progresses into the ornate musical experimentation of the French Ars Nova in the late 1400s. Study (and sing!) works by Pérotin and teacher Léonin, then compare our findings to the more contemporaneous theories of the prolific monk

Performance as Radicalism in Practice — MPF2165.02

Instructor: Michael Wimberly
Credits: 2
This class will explore performance as a tool for affecting social arrangements. We'll examine it from the perspective of the performer and the audience, moving from the hyper-local to the extended sites where change can take place. Performance as Radicalism in Practice names and works to understand the social phenomena that can affect a performance experience,

Performance as Radicalism in Practice — MPF2165.01

Instructor: Michael Wimberly
Credits: 2
This class will explore performance as a tool for affecting social arrangements. We'll examine it from the perspective of the performer and the audience, moving from the hyper-local to the extended sites where change can take place. Performance as Radicalism in Practice names and works to understand the social phenomena that can affect a performance experience,

Performance, Gender, and Sexuality in the Middle East — MET4103.01

Instructor: Joseph Alpar
Days & Time: MO,TH 1:40pm-3:30pm
Credits: 4

This course will explore the construction and experience of gender and sexuality in the Middle East through a performative lens. Drawing on research in ethnomusicology, queer and gender studies, anthropology and Middle Eastern history, the course will examine performance (music, dance, theater, poetry and more) as a process of representation, assertion, and sometimes

Philippine Kulintang Gong Ensemble — MPF2027.01

Instructor: Susie Ibarra
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