CRN	93847	Distribution	F
Course No.	MUS 116
Title	Music and Society in Four Italian Renaissance Cities
Professor	Frederick Hammond
Schedule	Tu Th 10:00 am – 11:20 am OLIN 104

A survey of musical composition and performance in the contexts of four of the greatest Italian centers of music and art in the years 1450-1600: Ferrara, an hereditary monarchy; Florence, a republic transforming itself into an hereditary monarchy; Venice, a secular elective monarchy; and Rome, a sacred elective monarchy. We will examine how the political and social ethos of each of these cities influenced and formed its musical and artistic expression. The course is intended for the inquiring general student, and no special knowledge of music is required. This course satisfied one of the history requirements for the Music Program.

CRN	93236	Distribution	F
Course No.	MUS 133
Title	Fundamentals of Music I
Professor	Kyle Gann / James Bagwell
Schedule	Mon Tu Th 9:00 am - 10:00 am BLM HALL Wed Fr 10:00 am - 11:20 am BLM HALL

This course serves as an introduction to music theory and music making, and is the entry-level course to the classical theory sequence. Basics of musical notation will be the starting point, after which we will move quickly to scales and recognition of triads and seventh chords, as well as rhythmic performance. At all times the course will emphasize analysis of real music, and an ear-training component will reinforce the theoretical knowledge with practical experience. There are no prerequisites; the course serves as prerequisite for Fundamentals II and all high-level theory courses. It counts as a music theory credit for music majors.

CRN	93237	Distribution	F
Course No.	MUS 171
Title	Jazz Harmony
Professor	John Esposito
Schedule	Mon Wed 1:30 pm -2:50 pm BLM 117

This course will include acquisitions of the basic skills that make up the foundation of all Jazz styles. We will also study the Jazz language from ragtime to the swing era.

CRN	93238	Distribution	B
Course No.	MUS 211
Title	Jazz in Literature I
Professor	Thurman Barker
Schedule	Mon Wed 10:00 am - 11:20 am BLM 117

Cross-listed: AADS, American Studies

This course presents some of the short stories and poems by Rudolph Fisher, Langston Hughes, Ann Petry, and Julio Cortazar. The text used in this section is “Hot and Cool” by Marcela Briton and the “Harlem Renaissance Reader”, edited by David Lewis.

CRN	93239	Distribution	A/C
Course No.	MUS 228
Title	Renaissance Counterpoint
Professor	Kyle Gann
Schedule	Tu Th 3:00 pm -4:20 pm BLM 117

The ancient musical technique of counterpoint seems of questionable relevance today. And yet, its premise- that human attention is riveted when a unified impression is created via maximum variety- is a fertile psychological principle relevant to many fields. Overall, this course will follow classical species counterpoint as outlined by the eminent Knud Jeppesen, based on the style of Palestrina. However, we will also examine the freer styles of earlier composers such as Josquin and Ockeghem, and generalize from contrapuntal concepts to such derivatives as the dissonant counterpoint of Charles Seeger and others. The ability to read music, and basic knowledge of musical terminology (intervals, cadences) are prerequisites. The course counts as a music theory credit for music majors.

CRN	93627	Distribution	C
Course No.	MUS 238
Title	History and Literature of Live Electronic Music
Professor	Richard Teitelbaum
Schedule	Tu Th 3:00 pm -4:20 pm OLIN 104

In the 1920’s, a number of new electronic instruments such as the Theremin, the Ondes Martenot and the Trautonium were invented, and a number of composers, including Hindemith and Messiaen, composed new works for them. After the invention of magnetic recording tape in the late 40’s electronic music became an enterprise that was produced in special studios and fixed on tape for later playback. Starting around 1960, John Cage and David Tudor began experimental performances with such works as Cartridge Music (1960), Variations II and other pieces that reintroduced the live performer to the electronic medium. Many composers, such as Mumma, Behrman, Lucier, Ashley, Stockhausen, Nono, and Boulez, as well as collective improvisationally-based groups such as AMM Music in London, and Musica Elettronica Viva in Rome soon followed suit. During the 60’s and 70’s, with the advent of smaller and the more personal synthesizers invented by Moog, Buchla and others, the field of live electronic music became a practical reality. Some ten years later, a similar sequence of events took place with regard to computer music, where the large mainframes of the 50’s and 60’s were superseded by the PC revolution of the late 70’s and 80’s. This was followed by the more recent development of the laptop that has enabled performers to carry powerful, portable computers on stage. This course will trace these developments, examine the literature of the field, encourage live performances of “classic” pieces, and the creation and performance of new compositions and improvisations. It is strongly recommended that this course be taken in conjunction with Electro-Acoustic Ensemble.

CRN	93241	Distribution	F
Course No.	MUS 240
Title	Introduction to Experimental Music
Professor	Richard Teitelbaum
Schedule	Tu Th 1:30 pm -2:50 pm OLIN 104

Beginning with the radical innovations of such revolutionary figures as Charles Ives, Henry Cowell, Edgar Varese early in the twentieth century, the experimental music tradition in the United States will be examined. In addition to studying the body of work this tradition has produced, as well as discussing its aesthetic and philosophic underpinnings, students will be encouraged to actively realize and perform pieces by some of the composers studied. Examples of possible performance projects: Ives’s quartertone pieces; Cowell’s piano music; graphic scores by Feldman, Brown and Cardew; chance and indeterminate scores by Cage; realization of a Nancarrow player-piano score on Disklavier, event pieces by Fluxus, Palk, and Kosugi, meditations piece by Oliveros, phase pieces of Steve Reich; notated and text pieces by Rzewski; game pieces by Wolff and Zorn, etc. This course is expected to be taken as a prerequisite for all Electronic Music Studio courses.

CRN	93242	Distribution	A/C
Course No.	MUS 255
Title	Analysis of the Classics of Modernism
Professor	Kyle Gann
Schedule	Mon Wed 3:00 pm -4:20 pm BLM 117

The half-century from 1910 to 1960 saw an explosion of dissonance, complexity and apparent musical chaos. And yet, beneath the surface it was also an era of unprecedented intricacy of structure and musical systematization. The liberation of dissonance and dissolution of melody left composers insecure, and they often compensated by creating systems of tremendous rigor not always apparent to the listener. This course will analyze in depth several works that changed the way we think about composing, and which pioneered the growth of an atonal musical language. Explore the cinematographic intercutting of Stravinsky’s Le Sacre du Printemps; the textural overlayering of Ives’s Three Places in New England; the elegant mathematical proportioning of Bartok’s Music for Strings Percussion and Celeste: the delicate symmetries of Webern’s Symphonie Op. 21; the total organization of Stockhausen’s Gruppen; and the compelling multi tempo climaxes of Nancarrow’s Study No. 36. Intended for music majors, for whom it counts as music theory credit, but other strongly motivated students are welcome.

Prerequisite: Fundamentals of Music or the equivalent (ability to analyze tonal harmony).

CRN	93243	Distribution	A
Course No.	MUS 260
Title	String Quartets of Beethoven
Professor	Colorado Quartet
Schedule	Tu 4:30 pm -6:50 pm OLIN 104

The Colorado String Quartet will examine the personal and creative life of this great composer through the medium of his sixteen string quartets. The works will be placed in a historical and political context. Beethoven’s relationship with the writers and philosophers of the time, including Goethe, Schiller and Kant, will be examined through his creative development. During the semester the Colorado Quartet will perform selections from the sixteen Beethoven string quartets. No prerequisites, but the ability to read music is a plus. There will be listening and writing assignments.

CRN	93244	Distribution	A
Course No.	MUS 265
Title	The Literature and Language of Music II
Professor	Christopher Gibbs
Schedule	Tu Th 11:30 am - 12:50 pm OLIN 104

A survey of selected musical masterpieces of the Classic and Romantic periods (roughly 1750 to 1900), beginning with works by Haydn, Mozart, and Beethoven and concluding with ones by Wagner, Strauss, and Mahler. Classroom discussions will focus on the style and organization of individual pieces, as well as on issues of biographical, cultural, and historical context. There will be no attempt for comprehensive chronological coverage, but rather we will consider a representative variety of genres and of compositional, aesthetic, and biographical concerns. Students will be evaluated on the basis of a series of short essays and two listening exams. As we will be using scores in our discussions, basic skills in music reading are helpful. This course is primarily designed for first and second year students and counts toward the music history requirement of the music program.

CRN	93861	Distribution	A
Course No.	MUS 266
Title	Jazz Repertory: The Music of Thelonious Monk
Professor	John Esposito
Schedule	Mon Wed tba

An immersion in the music of a jazz master; includes readings, recorded music and films. Monk’s music will be performed in a workshop setting by students and instructor. Visiting artists will play and discuss the music.

Prerequisites: Jazz Harmony II, or permission of instructor.

CRN	93245	Distribution	F
Course No.	MUS 310
Title	Advanced Electronic Music and Arts Workshop
Professor	Robert Bielecki
Schedule	Tu 1:30 pm -3:50 pm BLM

Cross-listed: Integrated Arts

This course will offer students instruction and guidance in realizing projects in electronic composition, performances, and installations. Examples of possible projects include: interactive computer music composition and performance utilizing the object oriented programming language, MAX, including algorithmic composition, machine listening and improvisation; digital sound synthesis and signal processing employing Supercollider Software; alternate MID controllers and interfaces. Students will be expected to present original creative work in public performances at least once during the semester.

Prerequisites: Music Workshop F and Music 240, or consent of the instructor.

CRN	93246	Distribution	F
Course No.	MUS 332
Title	Jazz: The Freedom Principle II
Professor	Thurman Barker
Schedule	Wed 1:30 pm -3:50 pm BLM HALL

Cross-listed: AADS

This is a survey course in Jazz History, which is part II of a four- part course. This is a study of Jazz from 1927 to 1942, the big band or swing era. Emphasis will be on band leaders such as Jimmie Lunceford, Benny Goodman, Tommy Dorsey, Teddy Wilson, Count Basie and Duke Ellington. This course employs a cultural approach designed to look at the social climate surrounding the music from 1927 to 1942 and examine its’ effect on the music. This will be illustrated with recordings, films and videos. This class requires oral presentation and critical listening.

CRN	93247	Distribution	n/a
Course No.	MUS 337
Title	World Music Seminar
Professor	Richard Teitelbaum
Schedule	Wed 1:30 pm -4:00 pm OLIN 104

This seminar will combine studies of traditional world musics (emphasizing the classical music of India, Indonesia, China, Korea and Japan) with an examination of the 20^th century Western music that they have influenced. These latter include the California School of Cowell, Harrison and Cage, the minimalists La Monte Young, Terry Riley, Steve Reich and Phillip Glass, Europeans such as Messiaen, Xenakis, Ligeti and others. The work of Western-trained Asian composers who have reintroduced traditional Asian materials into their work such as Chou Wen-chung, Toru Takemitsu, Yuji Takahashi and Tan Dun will be studied as well. Finally, the most recent developments in inter-cultural hybridization by younger composer/improvisers (Jin Hi Kim, Miya Masaoka, Ikue Mori, Fred Ho, etc) will be studied in the context of a developing integrated world music culture that promises to be a major musical trend in the 21^st century. Students will be encouraged to carry our research projects as well as to experiment with inter-cultural compositions and performances of their own. Enrollment limited.

CRN	93248	Distribution	A/F
Course No.	MUS 344
Title	Music and Culture of the African Diaspora I
Professor	Richard Harper
Schedule	Th 10:30 am - 12:50 pm BLM 117

Cross-listed: AADS

This course focuses on the musical cultures of Africa. Music and music making are examined in the context of African philosophy, religion and the specific practices of various cultures. This examination lays the basis for an investigation of the musical practices of the Caribbean and other areas of the New World where Africans reside in significant numbers. In addition to reading, writing and analysis, Music of the African Diaspora requires critical listening and participatory activities.