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Showing 25 Results of 7245

Music Theory I - Applied Fundamentals — MTH2274.01

Instructor: John Kirk
Days & Time:
Credits: 4
An introduction to music theory course. Music theory fundamentals will be taught utilizing voice (singing) and an instrument in hand. Knowledge of the piano keyboard will be learned and utilized. Curriculum will span the harmonic series, circle of 5ths, scales and chords to ear training, harmonic and rhythmic dictation, and beginning composition. Course will include singing,

Music Theory I - Applied Fundamentals — MTH2274.01

Instructor: John Kirk
Days & Time:
Credits: 4
An introduction to music theory course. Music theory fundamentals will be taught utilizing voice (singing) and an instrument in hand. Knowledge of the piano keyboard will be learned and utilized. Curriculum will span the harmonic series, circle of 5ths, scales and chords to ear training, harmonic and rhythmic dictation, and beginning composition. Score reading, listening, and

Music Theory I - Applied Fundamentals — MTH2274.01

Instructor: John Kirk
Days & Time:
Credits: 4
An introduction to music theory course. Music theory fundamentals will be taught utilizing voice (singing) and an instrument in hand. Knowledge of the piano keyboard will be learned and utilized. Curriculum will span the harmonic series, circle of 5ths, scales and chords to ear training, harmonic and rhythmic dictation, and beginning composition. Course will include singing,

Music Theory I – Applied Fundamentals — MTH2274.01

Instructor: John Kirk
Days & Time:
Credits: 4
An introduction to music theory course. Music theory fundamentals will be taught utilizing voice (singing) and an instrument in hand. Knowledge of the piano keyboard will be learned and utilized. Curriculum will span the harmonic series, circle of 5ths, scales and chords to ear training, harmonic and rhythmic dictation, and beginning composition. Score reading, listening, and

Music Theory I – Applied Fundamentals — MTH2274.01

Instructor: John Kirk
Days & Time:
Credits: 4
An introduction to music theory course. Music theory fundamentals will be taught utilizing voice (singing) and an instrument in hand. Knowledge of the piano keyboard will be learned and utilized. Curriculum will span the harmonic series, circle of 5ths, scales and chords to ear training, harmonic and rhythmic dictation, and beginning composition. Score reading, listening, and

Music Theory: Beats Bars — MTH2129.01

Instructor: John Kirk
Days & Time:
Credits: 2
A deep dive into rhythmic notation and sight reading. A course for acquiring useful skills to notate sight read, rhythmic melodic notation. Topics: syncopation, compound meters, interpretation, ear training conducting. Student will bring instrument and/or voice to class for practice and application. Instruments can include: any strings, brass, woodwind, or percussion.

Music Toolkit: Rhythm — MFN2107.02

Instructor: Bruce Williamson
Days & Time:
Credits: 1
This course is meant for almost‐beginners and intermediate students wanting to gain a better understanding of RHYTHM. We will review how meters function, how syncopation and polyrhythms are created and how rhythmic patterns are notated.  The ability to recognize and execute various rhythms is critical to improving one’s musicianship. Rhythm adds interest and energy to all

Music Toolkit: Theory for Singers and Performing Musicians — MFN2214.02

Instructor: Kitty Brazelton
Days & Time:
Credits: 1
This course is designed to further the understanding and identification of the symbols of music and to integrate them into practical application.  Scales, intervals and rythmic notation will be reviewed and be used to sing simple pieces of music.  We will deal with melody and harmony through reading single melodic lines, four part Bach Chorales and other music in most

Music Toolkit: Theory for Singers and Performing Musicians — MFN2214.01

Instructor: Kitty Brazelton
Days & Time:
Credits: 1
We will meet to sing together once a week. Madrigals, plainchant, large a cappella choral works ancient and new. Develop an understanding of the theory every musician should know by heart, ear and eye—particularly the singer—in order to perform. Learn how to sight-sing by applying music theory. Ability to match pitch and sing in harmony are recommended but not required.

Music Workshop — MUS2001.01

Instructor: Music Faculty
Days & Time:
Credits: 0
Workshop provides a weekly student-led forum for students to perform prepared works and/ or present their compositions, and receive feedback from the music faculty, instrumental teachers, and students. In addition, lectures and performances will be presented by the music faculty and occasional visiting artists. Corequisites: Students taking performance classes are

Music, Gender, and Sexuality in the Middle East — MHI2252.01

Instructor: Joseph Alpar
Days & Time:
Credits: 2
This course will explore the construction and experience of gender and sexuality in the Middle East through a musical lens. Drawing on ethnomusicological, historical, sociological and anthropological research in the region, the course will examine music-making as a process of representation, assertion, and sometimes transgression of sexuality and gender identities. We will talk

Music, Gender, and Sexuality in the Middle East — MET2137.01

Instructor: Joseph Alpar
Days & Time:
Credits: 4
This course will examine the construction and experience of gender and sexuality in the Middle East through a musical lens. Drawing on research in ethnomusicology, queer studies, gender studies, Middle Eastern Studies, and other interdisciplinary fields, we will study music-making and other modes of performance as processes of representation, assertion, and sometimes

Music, Politics, and Society in the Modern Middle East — MHI2108.01

Instructor: Joseph Alpar
Days & Time:
Credits: 4
The Middle East, home to many of the world’s oldest civilizations and major religions, remains a region of remarkable cultural diversity. From the fall of the Ottoman Empire in 1922 to the Arab Spring and the current refugee crisis, this vast territory has experienced extraordinary political and social change over the past nearly one hundred years. While often riven by conflict

Musical Explorations — MTH2278.01

Instructor: Allen Shawn
Days & Time:
Credits: 4
This Course is open to any and all students hoping to learn more about music who have limited [or no] experience reading music and limited or no experience studying music theory. The class will explore music notation through small composing assignments. We will also explore the basics of music theory, will study some of the high points of music history, with an emphasis on 20th

Musical Forms — MHI2240.01

Instructor: Allen Shawn
Days & Time: TBA
Credits: 4
This class focuses on musical architecture, by examining beautiful works from the 18th, 19th, 20th, and 21st centuries. We will listen to music by Bach, Mozart, Beethoven, Fanny Hensel, Schumann, Brahms, Mahler, Ives, Stravinsky, Prokofiev, Schoenberg, Berg, Rzewski, Bernstein, Cage, Kurtag, Takemitsu and Gubaidulina (among others), analyzing their structures in detail. We will

Musical Forms — MHI2240.01

Instructor: Allen Shawn
Days & Time:
Credits: 2
This class focuses on musical architecture, by examining important and beautiful works from the 18th, 19th and 20th centuries, and discussing the traditional forms they exemplify. We will listen to works by Bach, Mozart, Beethoven, Schumann, Brahms, Mahler, Stravinsky, Prokofiev, Berg, and Rzewski (among others), analyzing their structures in detail. Forms to be studied will

Musical Forms — MHI2240.01

Instructor: Allen Shawn
Days & Time: TBA
Credits: 4
This class focuses on musical architecture, by examining beautiful works from the 18th, 19th, 20th and 21st centuries. We will listen to music by Bach, Mozart, Beethoven, Fanny Hensel, Schumann, Brahms, Mahler, Ives, Stravinsky, Prokofiev, Schoenberg, Berg, Rzewski, Bernstein, Cage, Kurtag, Takemitsu and Gubaidulina (among others), analyzing their structures in detail. We will

Musical Forms — MHI2240.01

Instructor: Allen Shawn
Days & Time:
Credits: 4
This class focuses on musical architecture, by examining beautiful works from the 18th, 19th, 20th and 21st centuries. We will listen to music by Bach, Mozart, Beethoven, Fanny Hensel, Schumann, Brahms, Mahler, Ives, Stravinsky, Prokofiev, Schoenberg, Berg, Rzewski, Bernstein, Cage, Kurtag, Takemitsu and Gubaidulina (among others), analyzing their structures in detail. We will

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

Instructor: Carly Rudzinski
Days & Time:
Credits: 2
Why do we like the music we like? How do we discover music? How do we monetize music? This course will explore the factors that influence our musical taste and how the industry monetizes our love of music. In the first half of the course, the class will examine the latest research on music, media, and science, bringing awareness to our freedom, or the lack of, in our everyday

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

Instructor: Michael Wimberly
Days & Time:
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
Days & Time:
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
Days & Time:
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
Days & Time:
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:
Days & Time:
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
Days & Time:
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.