Courses

Course
MUS981: Junior Independent Work

No Description Available

Course
VIS225: Sound Art

In this course, you will be asked to develop your own voice in sound as an art material.

Course
STC204B: Musical Instruments, Sound, Perception, and Creativity
Dan Trueman

Musical instruments reside at the intersection of varied topics: sound, perception, embodiment, music theory, social values, and more; how has their design influenced the development of music and how might they be reinvented to spur new ideas?

Course
STC204A: Musical Instruments, Sound, Perception, and Creativity
Dan Trueman

Musical instruments reside at the intersection of varied topics: sound, perception, embodiment, music theory, social values, and more; how has their design influenced the development of music and how might they be reinvented to spur new ideas?

Course
VIS225: Sound Art

In this course, you will be asked to develop your own voice in sound as an art material.

Course
STC209B: Transformations in Engineering and the Arts
Jeff Snyder

This course will examine transformations between visuals, sound, structure, and movement. This course explores the notion of generative art, and investigates the parallels between design processes in engineering and the arts.

Course
STC209A: Transformations in Engineering and the Arts
Jeff Snyder

This course will examine transformations between visuals, sound, structure, and movement. This course explores the notion of generative art, and investigates the parallels between design processes in engineering and the arts.

Course
MUS545: Contexts of Composition: Creative Practice in Cultural Perspective: Beyond Misogyny
Barbara White

What would artistic experience free of gender bias look like? Can we even imagine it? The charged word "misogyny" invites us to begin by scrutinizing gender-based antipathy in artistic experience.

Course
MUS545: Contexts of Composition: Creative Practice in Cultural Perspective: Beyond Misogyny
Barbara White

What would artistic experience free of gender bias look like? Can we even imagine it? The charged word "misogyny" invites us to begin by scrutinizing gender-based antipathy in artistic experience.

Course
MUS542: Instrumentation and Performance
Dan Trueman

Collaborations with varied ensembles and performers from around the world and here at Princeton, presented in concert on the Princeton Sound Kitchen concert series.

Course
MUS537: Points of Focus in 20th-Century Music
Juri Seo

Practice in analysis and composition with various pitch organization techniques of the 20th and 21st centuries, including set theory, spectral music, just intonation, and topics from participants' interests. Reading sessions are arranged.

Course
MUS534: Ends and Means: Issues in Composition
Donnacha Dennehy

"What if?" tries to understand complex musical surfaces using transcription and transformation. We start by looking at examples from Hans Abrahamsen, Unsuk Chin, Gerard Grisey, Kaija Saariaho and Claude Vivier.

Course
MUS532: Composition
Donnacha Dennehy
Steven Mackey
Juri Seo
Dan Trueman
Dmitri Tymoczko
Barbara White

Emphasis is placed upon the individual student's original work and upon the study and discussion of pieces pertinent to that work.

Course
MUS525: Topics in Music from 1400 to 1600: Renaissance Music

Focus on select Renaissance music texts, both manuscript and print, for evidence of how authors borrowed structures, formats, images and other materials while interacting with models and inserting elements that reflected innovations.

Course
MUS523: Sound Studies/Music Studies
Gavin Steingo

In the past two decades, "sound studies" emerged as a major field of inquiry in the social sciences and humanities.

Course
MUS515: Topics in the History of Opera: Verdi and Shakespeare
Wendy Heller

Over the course of his lengthy career, Giuseppe Verdi composed three operas based on plays by William Shakespeare.

Course
MUS510: Extramural Research Internship
Simon A. Morrison
Dmitri Tymoczko

MUS510 is for students in the department who wish to gain experience of central importance to their area of study by working outside of the University capacity.

Course
MUS359: Sound Cultures
Gavin Steingo

This course examines the role of sound and listening in the constitution of culture. Classes will be evenly split between historical and theoretical analysis, on the one hand, and practice-based explorations of sound, on the other.

Course
MUS355: Folk Music Revival

This course will examine a variety of manifestations of folk music in different cultures of the world, with a specific emphasis on examples from France and the U.S., and will study key moments of folk music revival from the nineteenth century to t

Course
MUS345: Songs and Songwriting
Dan Trueman

Songs and Songwriting will offer undergraduates the opportunity to study songs and songcraft in an intense, supportive small-group workshop. Songs are mysterious musical forms.

Course
MUS329: The Composer/Performer
Steven Mackey

MUS 329 explores connections between composition and performance in group and solo contexts.

Course
MUS319: Composition and Improvisation
Rudresh Mahanthappa
Dmitri Tymoczko

In this class we will consider a variety of strategies for combining improvisation and notated music, drawing on both contemporary concert music and jazz.

Course
MUS316: Computer and Electronic Music Composition
Jeff Snyder

A composition workshop class, in the context of the traditional sound studio. Emphasis will be on the student's creative work, composing both "fixed media" works and live electronic/laptop music.

Course
MUS299: Independent Instruction in Voice or Instrument
Brian Brown
Ronald Cappon
Susannah Chapman
Kevin Deas
John Ferrari
Joe Fiedler
Jacqueline Horner-Kwiatek
Francine Kay
David Kellett
Christopher Komer
Sunghae Anna Lim
Ruth Ochs
Alberto Parrini
Michael Pratt
Barbara Rearick
Trineice Robinson-Martin
Jayn Rosenfeld
Jo-Ann Sternberg
Eric Wyrick

Independent instruction in voice or instrument is an intensive immersion in all aspects of recreating music for performance.

Course
MUS264: Urban Blues and the Golden Age of Rock
Rob Wegman

Examines the origins and development of rock music in the period 1950-1975. The principal focus is on the songs, styles, and artists of the 1950s, 1960s, and early 1970s.