MUS 105: Music Theory through Performance and Composition
MUS 105 is an introduction to music theory concentrating on harmony but also examining rhythm, melody and timbre. Though its focus will principally be on functional tonality, as it manifests itself in the common-practice period of classical music, we will also examine modal music and tonal/modal harmony in other musics such as rock and folk, and there will be a unit on African Rhythm. After a review of the rudiments, we will proceed to examining harmonic function, voice-leading, form and model composition. The course is designed to help you develop your understanding of music, analyze existing musical works, and compose your own.
MUS 303: Actor-Musicianship
A practical class. This is a workshop based class for those interested in multi-skilled performance and in how performance skills can illuminate new forms of theatre making. Ideally participants should have musical skills and be able to bring an instrument to work with. A lack of instrument would not preclude somebody from participating. It is helpful, but not necessary if students can read music. The course is also open to those interested in directing or other aspects of storytelling. It is also available to music students who are interested in all aspects of performance.
MUS 530: Topics in German Media Theory & History: Sonic Politics
In the wake of a series of recent events “Havana syndrome,” acoustic devices for suppressing protests, etc.–the weaponization of the acoustic has gained widespread public attention. But these dystopic accounts obscure the fact that sound has always been intimately connected to the political. This seminar explores the many political dimensions of the acoustic: from tonality as a colonizing force to the algorithmization of listening; from acoustic regimes of urban space to the ecological dimensions of audio technologies; from questions of noise and sonic pleasure to the deployment of sound both for protest and as a mechanism of control.