MUS 259: Projects in West African Mande Drumming
Performance course in West African drumming with focus on music from Mandé Empire (Mali, Guinea, Burkina Faso, Ivory Coast, Gambia, Guinea Bissau and Senegal.) Taught by master drummer and exponent of Mogo Kele Foli drumming technique. Course provides hands-on experience on two instruments, Djembe and Dun dun. Students acquire performance experience, skills and techniques on Wassolon and Diansa, and develop appreciation for integrity of drumming in daily life of West Africa.
MUS 248: Music Cognition
Music can get your feet tapping, trigger a cascade of memories, mire you in nostalgia, or leave you with an earworm. What happens when tools drawn from cognitive science are applied to understanding these experiences? What can music tell us about the human mind, and what can psychology and neuroscience tell us about music? This course will provide an introduction to music cognition, emphasizing the potential and the challenges that characterize work at the intersection of science, the humanities, and the arts. Students will gain experience posing their own questions at this intersection, and identifying appropriate methods to answer them.
MUS 246: Dundun Projects
A performance course in West African contemporary bass drumming technique with a focus on Dundun drumming. Taught by composer and master drummer Olivier Tarpaga, the course provides hands-on experience on Manding traditional and contemporary bass drumming rhythm. Students will acquire performance experience, skills and techniques on the Kenkeni, Sangban and Dundumba drums. Students will learn about the culture of the griots and the history of the ancient Manding/Mali empire.
MUS 232: Music in the Renaissance
A journey through the musical landscape of the Renaissance, taken here as roughly the period 1400-1600. Particular emphasis on listening and appreciation, and on developing the vocabulary to articulate informed assessment of compositional method and style. Materials include recordings, scores, images, original texts, and secondary literature. Ability to read musical notation is essential; experience in counterpoint would be helpful. Attention will be paid to historical developments such as humanism, bookprinting, the Black Death and its aftermath, the Reformation, the art of conversation, and so on. Final project is an essay.
MUS 236: Music of the Classical Period
A survey of the styles, forms, composers and performance contexts from 1750 to the first decade of the nineteenth century. The course addresses important developments in the realm of instrumental music, liturgical music, and opera, and will bring to the table the contributions of musicians sometimes left out of the musical history of this era.
MUS 242: Music After Modernism, 1945 to the Present
A survey of concert music from the middle of the twentieth century through the present day. During this time, Eurocentric models gave way to a dizzyingly diverse array of styles and attitudes, calling the very identity of concert music into question. Topics include high modernism; experimental explorations; noise and silence; technology; spirituality; music for film and dance; interculturalism and cultural appropriation; commodification; acoustic ecology; politics; and identity and diversity. We ask, where does concert music ‘fit’ in today’s cultural landscape? What is its nature, and where do its boundaries lie? And whose music is it?
MUS 247: Cultural Appropriation in the Arts
This course explores the phenomenon of cultural appropriation through a wide lens. We analyze film, television, and music, with additional attention to “everyday” examples such as fashion, advertising, and cuisine. We scrutinize the familiar claim that respectful intentions negate power imbalances, and we explore questions of identity, ownership, representation, and authenticity.
MUS 210: Beginning Workshop in Musical Composition
A workshop that fosters individual students’ composing within a community of peers. We’ll consider familiar musical styles, and we will open our ears as well to non-traditional instruments, collaborative and improvisatory approaches, and technological opportunities. The focus is not on music theory “rules” but on each student’s musical imagination, explored through the tools available to us, individually and collectively. Group work and discussion are central. Several short “sketches” during the semester, final composition at the end of the semester.
MUS 106: Music Theory through Performance and Composition
A continuation of Music 105, with an emphasis on the harmonic and formal principles of classical music. MUS 106 casts its net wider than MUS 105, also considering the various guises of tonality and modality in Medieval, Renaissance, Romantic, Modern and Minimalist music.
MUS 404: Creative Musical Leadership
In this course, students will develop and implement a personal philosophy of music ensemble direction. Students will connect practice-based learning with broader theories of art-making, exploring questions about why, how, and with whom people make music. For those who dream of directing a vocal group, conducting an orchestra, music directing a musical, or even inventing a new ensemble, this process-driven course will create an environment for experimentation, risk-taking, and musical and personal growth. A background playing an instrument, singing, conducting, or composing music is required.
MUS 362: Opera: Culture and Politics
This course examines how politics and culture play out in that most refined of art forms: opera. The course will introduce students to the history of European opera, focusing on 19th century composers in France, Germany, and Italy. We will closely examine three operas: one French (Bizet’s Carmen), one Italian (Verdi’s Aida) and one German (Wagner’s Die Meistersinger). Following Edward Said’s work, we will examine how politics and culture play out in these works: European colonialism in Aida; the question of antisemitism in Wagner; stereotypes of Spain in Carmen. Includes excursions to the Metropolitan Opera.
MUS 457: Conversations: Jazz and Literature
Why have so many masters of verbal art relied on the stylistics and epistemologies of jazz musicians for the communication of experience and disruption of conventional concepts? We’ll draw on musical recordings, live in-class performances by guest jazz artists, poetry, fiction, and recent debates in jazz studies, critical theory and Black studies. Advanced undergraduate and graduate students of literature and/or music are welcomed, but proficiency in both disciplines is NOT required. We will develop together techniques of close reading and listening. Optional performance component for music instrumentalists and vocalists.