MUSC-Music

Study of vocal and choral techniques in the context of ensemble rehearsals, often culminating in public performance. Repertoire to include varied works for treble choir, both a cappella and with instrumental accompaniment. Familiarity with basic music notation recommended. Some additional rehearsal time, both individually and with the group is required. Admission by audition with conductor prior to first class meeting.

Instruction in diverse musical traditions, and their culturally-grounded performance contexts, of Native American, Ibero-American, and African American music cultures of Latin America, including texted music in Spanish and Quechua or other regional languages. The class forms an ensemble that prepares varying cultural and national repertoires for public performance. Some Spanish language ability is recommended. Attend first class meeting.

Development of Latin American, Native American, Ibero-American, African American, and/or Nueva Canción (New Song) repertoire in a small ensemble setting. Three quarters of course 4A or previous enrollment in course 4B required prior to enrolling in this course. Admission by audition with instructor at first class meeting.

Instruction in the basics of musical composition including the fundamentals of classical melodic and harmonic construction. Some experience in reading music, performance, and theory expected.

An introductory course in the art of conducting. Development of secure baton technique. Technical skills taught include standard and asymmetrical beat pattern, beat styles, fermata conducting, and use of the left hand. (Formerly MUSC 53.)

Keyboard (score-reading, figured-bass, progressions, chorales) and musicianship (sight-singing, intervals, chords, rhythm) laboratory sequence illustrating topics covered in course 30A. Two 1-hour laboratory sessions per week. Concurrent enrollment in course 60 required for students without adequate prior keyboard training.

Keyboard (score-reading, figured-bass, progressions, chorales) and musicianship (sight-singing, single chords and progressions, rhythm) laboratory sequence illustrating topics covered in course 30B. Two 1-hour laboratory sessions per week. Prerequisite(s): course 30L.

Keyboard (score-reading, figured-bass, progressions, chorales) and musicianship (sight-singing, atonal melody, rhythm) laboratory sequence illustrating topics covered in course 30C. Two 1-hour laboratory sessions per week. Prerequisite(s): course 30M.

A detailed study of musical style in cultural context in Indonesia, including court and village traditions and recent developments. The comparative approach includes reference to Balinese, Javanese, and Sundanese music cultures, and traditions of other regions, such as Madura, Cirebon, and/or the outer islands. Performance in a related music culture is strongly recommended and may be satisfied by concurrent enrollment in course 5A, 5B, 5C, or 8, as available. Offered on a rotational basis with other non-Western music courses in the 80 series.

Examination of blend of cultures permeating Italian Jewish experience as reflected in music from Renaissance to present: European and Mediterranean Jewish traits, Italian folk and art music, including opera. Course intersects musicology, ethnomusicology, and anthropology. Satisfies the Jewish studies and Italian studies concentrations. (Formerly course 80U.)

Theories and practices of 20th-century music. Survey of compositional principles in 20th-century music, with an emphasis on departures from tradition. Techniques of post-tonal, dodecaphonic, and serial composition; survey of post-war movements in composition and improvisation.

Fourth quarter of a four-quarter detailed chronological study of Western art music from antiquity to the present. Coordinated lectures, readings, listening assignments, and analysis of representative works: twentieth century.

A survey of resources, electronic and acoustic theory, and construction techniques appropriate to the development and maintenance of a personal music or recording studio.

Idiomatic writing for solo instruments in the 20th century. Studies of 20th-century composers' transcriptions for orchestra of their own piano works. Timbre organization as the primary compositional structure in works by composers such as Varese, Stockhausen, and Ligeti.

Species counterpoint written and improvised to a given melody. Free counterpoint.

Covers basic principles of film composition, terminology, general technology, and strategies for film scoring. Consists of discussions of particular film types, and students will compose music appropriate to the genre and mood of the film clips.

Designed to develop the background knowledge and technique necessary for graduate study and independent research in the field of ethnomusicology. Also useful to students in anthropology, theater arts, and related disciplines who are interested in the ethnomusicological approach.

An intensive study of opera as both music literature and a vehicle for performance. Fundamentals of stage movement for singers. History, analysis, and staging of selected operatic scenes, culminating in one or more public performances. Offered concurrently with course 160 in years when there is a major opera production.

A workshop for singers, accompanists, and directors, the course develops a wide variety of skills related to opera through scenework. Attention will be given to movement, acting, coaching, and operatic stage-directing technique. Instruction culminates in studio productions of scenes from operas and musicals. Admission by permission of vocal instructor, or by audition with instructor prior to first class meeting.

Concentrates on developing advanced baton technique and effective rehearsal technique. Provides each student with practical experience through conducting a videotaped vocal lab. Other areas such as auditioning, building an ensemble, and score study are investigated.

Techniques and repertory of Gender Wayang, a traditional Balinese ensemble of metal-keyed percussion instruments. Works may include music for shadow plays and ritual pieces. Intermediate to advanced level skills in mallet percussion (individual lessons, gamelan, or percussion ensemble experience). Admission by audition with instructor at first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes.

Detailed study of the Grateful Dead's music, history, and sociology. Course 80N introduces the Dead to general students, but this course is for music majors or minors; non-majors who can read music; and Deadheads who have extensive touring/concert experience. Prerequisite(s): Course 11C (formerly 80H), or 80N, or equivalent experience. Admission by consent of instructor: personal interview before first class recommended. Students cannot receive credit for both this course and 80N in the same quarter.

Detailed study of the Beatles' music. While course 80V introduces the Beatles to general students, this course is designed for music majors, music minors, students able to read music, or non-majors with strong knowledge of the Beatles' repertory. Interview only; instructor determination at or before first class meeting. Prerequisite(s): course 11C or equivalent experience; basic knowledge of Beatles repertory. Students cannot receive credit for both this course and course 80V in the same quarter.

An exploration of the many facets of the music industry: history, technology, economics, sociology, and legislation. Intended to provide both a broad understanding of the industry and a pragmatic survey of available career paths. While designed for general students, this seminar is specifically directed to those students desiring to pursue a music business career, whether in performance, management, the record business, writing about music (journalism, criticism), or entertainment law. Students cannot receive credit for both this course and course 80W in the same quarter. Admission by permission of instructor at or before first class meeting.

Through musical analysis of representative works, an examination of stylistic continuity and development in Stravinsky, from the eclectic pre-Firebird pieces through Russian works of the 1910s, the neo-Classical compositions, the serial experiments, and the twelve-tone serialism of the final period.