MPP 251: Jazz Fundamentals
This 12-week performance course is an introduction to the language and concepts of Jazz improvisation. The course will use classic performances as material for developing listening acuity, vocabulary, memory, analysis, and historical grasp of the music’s evolution in the mid-20th century. By the end of the course, students should be able to improvise through basic song forms with technical competence and confidence in their ability to hear and produce melodies spontaneously.
MPP 298: Independent Instruction in Voice or Instrument (Non-credit)
Independent instruction in voice or instrument is an intensive immersion in all aspects of recreating music for performance. Lessons are geared towards the development and embedding of solid technique, and the application of this technique to proper style and musical expression. Issues explored include but are not limited to interpretation, stylistic appropriateness, historical context, theoretical/syntactical underpinnings, the avoidance of injuries, audition and performance strategies, and career planning.
MPP 214: Projects in Vocal Performance: Vocal Music of Les Six
Vocal instructors Barbara Rearick and Ronald Cappon invite you to explore the songs of the six composers of Post World War I France known as Les Six. These composers were part of a movement aiming to breathe new life into music quintessentially French in character, free of GermanicTeutonicism, musical Impressionism, and dry musical academicism. The course is for up to 10 singers and 3 pianists, capping at 13 and participation is based on audition.
MPP 231: Princeton University Steel Band
Students will be taught the performance practices of the steel band originating in Trinidad and Tobago.
MPP 213: Projects in Instrumental Performance: Chamber Music
Instrumental chamber music of the 18th, 19th, 20th and 21st centuries, both canonic and non-canonic. Preparation for performance of ensembles. Each ensemble’s repertoire will be determined in consultation with the instructors during the first week of classes.
MUS 204: Musical Instruments, Sound, Perception, and Creativity
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? We will explore these questions through readings, listening, analysis, labs, and composition. Specific topics include: harmony and the keyboard; tuning and temperament; preparing the piano, digital and analog. More generally, we will consider the productive tension between qualitative and quantitative understandings of musical concepts.
MUS 228: Sound/Material/Mind
Sound is at once ephemeral in air, concrete in material, and conceptualized in the mind. This unique quality makes sound ideal for examining the relationship of our internal experience to physicality. In this course, students will reconsider sound as material through projects exploring physical technologies of sound-making along with listening and viewings of related arts and artists, readings and writings in theories of sound, new media, and phenomenology. This class offers a hybrid experience – an engagement with art-making and seminar, reconsidering our relationship to the body, physical material, and sound embodied in the world.
MUS 347: Multidisciplinary Musical Storytelling – Tularosa: An American Dreamtime
Using the musical story-work “Tularosa: An American Dreamtime” as a springboard,
students will explore the mythology of the American West and musical storytelling
through a multidisciplinary lens. Students will then use a variety of creative methods
including songwriting, theatrical performance, experimental movement and dance,
video, dramaturgy, archival and site-specific research, and artifact- and symbol-making
to create unique multidisciplinary storytelling projects from their own points of view.
MUS 350: Studies in African Performance
This course presents a cross-disciplinary and multi-modal approach to African music, dance, and culture. Co-taught by a master drummer and choreographer (Tarpaga) and an ethnomusicologist (Steingo), students will explore African and African diasporic performance arts through readings, discussions, listening, film analysis, and music performance.
MUS 357: Music and Shakespeare
A survey of Shakespeare’s treatment of music in the plays and sonnets. The course is based on primary sources only; images will be provided. It also features multiple original songs. The focus is on their dramatic function within complete scenes. At all times we will engage in close reading. We will address a range of relevant historical themes, including: harmony and unity, sound and spirit, music education, rhetoric and decorum, male friendship, the power of the eyes, the art of letter-writing, Puritans and music, and music and melancholy. The course includes a visit to the Rare Books Room.
MUS 344: The Ceremony is You
An exploration of ritual and ceremony as creative, interdisciplinary spaces imbued with intention and connected to personal and cultural histories. A broadening and deepening of knowledge around historical and contemporary ritual, ceremonial, and community-building practices of queer and trans artist communities from around the world, with a deeper focus on the extraordinary history of the queer trans shamans of early 20th century Korea.
MUS 338: Music in the Global Middle Ages
Moving from Baghdad to Paris, Jerusalem to Addis Ababa, Iceland to Dunhuang, this course examines the musical cultures of some of the most vibrant centers of the Middle Ages. We consider what it means to study medieval music “globally,” focusing on key moments of cultural contact (trade, pilgrimage, conflict), while remaining attuned to the particularities of specific places. Emphasis is on the physical traces of premodern music, and we encounter the distant musical past in a variety of materials and formats (paper manuscripts, papyrus fragments, parchment rolls, stone steles), meeting weekly in Special Collections.
MUS 340: Advanced Concepts in Jazz Improvisation: Creating Fresh Vocabulary
In this course, we will examine various approaches to chromatic improvisation and composition as well as advanced rhythm techniques. Topics will include concepts such as superimposition, fixed intervals, pitch cells, modes, synthetic scales, 12-tone systems, chromatic harmonization, reharmonization, serialism, polyrhythm, additive rhythm, and more. We will also have several visiting guest artists who are high-level practitioners in the field. Past guests included Anna Webber, Gary Thomas, Miles Okazaki, and Dan Weiss.
MUS 341: Atonality and Noise
This class considers atonality and noise as resources for 20th & 21st century musicians, ranging freely across folk, popular, and notated traditions. We begin with percussion music, music concrete, and sampling; then consider pitch as a kind of noise: free atonality, free improvisation, textural music (Penderecki, Xenakis, etc.), and spectralism. Also fusions of pitch and noise: feedback, distortion, extended techniques, and modular synthesis. Ending with set theory, total serialism, and the attempt to devise a “language” of atonality.
MUS 343: Thinking Through Musical Sound
How do musical sounds hang together and convey meaningful ideas to its local audience–emotions, acoustic, semiotic, and ideological dimensions to theorize how it answers to diverse aesthetic and epistemic conditions across listening cultures. Students will engage a range of musical sounds through embodied analysis, (auto)ethnography, and close readings in music theory, ethnomusicology, and music perception. While this course welcomes students without previous training in music theory, it is also poised to challenge those with substantial experience.
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 221: History of Western Choral Music
A survey of vocal literature (excluding opera) from the fifteenth century to the present day. Lectures focus on representative works that illustrate historical developments in musical style, vocal texture, and text-music relationships; attention is also given to choral music’s role as an institution of social engagement, an expression of collective identity, and the societal ability to rejoice, celebrate, critique, and mourn on an impersonal level.
MUS 249: Introduction to Music for Film and the Moving Image
We will consider the art of music for the moving image. We will look at historic examples, scoring styles and techniques, and the choices that directors and composers make. We will begin by looking at the basic elements of film and music. Then we will consider the role of genre and style, focusing especially on early Hollywood and Russian filmmakers. Finally, we will look at a range of modern scoring techniques.
MUS 300: Junior Seminar
This course introduces students to key methodological, technical, creative, and disciplinary issues entailed in the study of and making of music. Weekly assignments will include readings of current or influential scholarship; writing, editing, and composition projects; attendance at selected department concerts or colloquia. Classes will also include guest lecturers and visits to area libraries. Students will be encouraged to participate in the department mentoring program.
MUS 314: Computer and Electronic Music through Programming, Performance, and Composition
An introduction to the fundamentals of computer and electronic music. The music and sound programming language ChucK, developed here at Princeton, will be used in conjunction with Max/MSP, another digital audio language, to study procedural programming, digital signal processing and synthesis, networking, and human-computer interfacing.
MUS 205: Species Counterpoint
A hands-on, practical course in 16th-century (primarily sacred) vocal music composition. The motivations are numerous: the music is beautiful and pre-functional. In a tonal sense, it provides rich perspective historically, technically, and conceptually upon music of later centuries, including our own. Learning to compose in the style is a deep and challenging way to understand it, and understanding is meaningful beyond the confines of the music itself. In addition to composing, we will spend time singing music from the period and your own projects. This helps us get the sound of the music into our ears and bodies.
MUS 105: Music Theory through Performance and Composition
Music 105 introduces foundational elements of music making, while considering relevant contextual information like form, function, and identity. A broad and inclusive range of musical genres from around the world will be examined in equal measure to help develop holistic insight into how and why music works. The course is designed to strengthen your ability to analyze a wide variety of existing music from the past and present, and gain new approaches to composing your own. The emphasis is firmly on the practical application of the concepts we encounter within music, rather than an abstract understanding of limited musical methods.
MPP 214: Projects in Vocal Performance: Exploring Art Songs from the African Diaspora
A study of classical art songs written by composers of African descent in the United States, the Americas and Europe. A survey of the rise of classical art song after the American Civil War, 1865 to the present. Course will cover the social and political obstacles that black composers faced, the repertoire composed and the singers and other musicians who performed the music. Course will involve lectures, guest speakers and performance, culminating in a written project and public vocal recital. Students will have a final paper and those who wish to publicly perform in the recital will be encouraged to do so. Musical background is not required.
MPP 216: Techniques of Conducting
This course will focus on: 1) the development of competency in conducting technique, 2) verbal and non-verbal communication in rehearsal, 3) the development of good rehearsal strategies.