HONORS RESEARCH
Prerequisites: a formal proposal to be submitted and approved prior to registration; see the director of undergraduate studies for details. A creative/scholarly project conducted under faculty supervision, leading to completion of an honors essay, composition, or the equivalent.
-
Instructor:
Marcos Balter
Wikipedia Info -
Instructor:
Mariusz Kozak
CULPA: 4 h-index: 5 Info -
Instructor:
George Lewis
CULPA: 10
Wikipedia
h-index: 18
Info
-
Instructor:
Jeffrey Milarsky
CULPA: 6
Wikipedia
Info
-
Instructor:
Seth Cluett
h-index: 4 Info -
Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
-
Instructor:
Benjamin A Steege
Info -
Instructor:
Magdalena Baczewska
CULPA: 4
Info
-
Instructor:
Peter M Susser
CULPA: 20
Info
-
Instructor:
Christopher J Washburne
CULPA: 31
Info
-
Instructor:
Knar Abrahamyan
Info -
Instructor:
Ruth Opara
Info - 2-3 points
SUPERVISED INDEPENDENT STUDY
Prerequisites: approval prior to registration; see the director of undergraduate studies for details. A creative/scholarly project conducted under faculty supervision.
-
Instructor:
Zosha Di Castri
Info -
Instructor:
Julia Doe
Info -
Instructor:
Aaron A Fox
CULPA: 7
Info
-
Instructor:
Kevin Fellezs
CULPA: 4
Info
-
Instructor:
Walter M Frisch
CULPA: 17
Info
-
Instructor:
Bradford G Garton
CULPA: 14
Info
-
Instructor:
Giuseppe Gerbino
CULPA: 12
Info
-
Instructor:
Georg Friedrich Haas
Info -
Instructor:
Marcos Balter
Wikipedia Info -
Instructor:
Mariusz Kozak
CULPA: 4 h-index: 5 Info -
Instructor:
George Lewis
CULPA: 10
Wikipedia
h-index: 18
Info
-
Instructor:
Jeffrey Milarsky
CULPA: 6
Wikipedia
Info
-
Instructor:
Seth Cluett
h-index: 4 Info -
Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
-
Instructor:
Benjamin A Steege
Info -
Instructor:
Magdalena Baczewska
CULPA: 4
Info
-
Instructor:
Peter M Susser
CULPA: 20
Info
-
Instructor:
Christopher J Washburne
CULPA: 31
Info
-
Instructor:
Knar Abrahamyan
Info -
Instructor:
Ruth Opara
Info - 2-3 points
LATE STYLE&EARLY ROMANTICISM
- W 12:10 p.m.-2 p.m.
-
Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
- 3 points
Music Production & Studio Composition
This course explores the recording studio and Digital Audio Workstations (DAWs) as tools for diverse compositional practices. By exploring a range of recording and editing techniques to craft new musical works beyond the limitations of live performance, this class encourages a seamless blend of composition and music production. Various genres, artists, and techniques that push the boundaries of music recording will be studied, such as Jamaican dub, musique concrète, hyper-pop, jazz fusion, and more. Students will gain hands-on experience with DAWs, exploring tools like effects processing, layering, and spatial placement. They will learn to listen closely to pieces exemplifying these techniques, building a shared analytic vocabulary to describe them. Students will also create original pieces, applying and building on the techniques studied in class, while engaging in constructive feedback with peers.
- M 1:10 p.m.-4 p.m.
- 3 points
Music and Global Women
This course offers a comparative exploration of women music practitioners from cross-cultural perspectives, examining their music, oral histories, and lived experiences as well as the impact of these experiences on their music-making in a global context. By tracing the journeys and analyzing the music of specific selected women musicians from various regions, the course investigates their participation in art music, traditional music, popular music, and sacred music from women’s perspectives. Engaging primarily with their music and interviews, the course particularly examines the comparative roles of women as active creators, performers, sponsors, and consumers of music, highlighting how their lived experiences shape their musical contributions. Students will be introduced to critical concepts for analyzing representations of gender, class, ethnicity, nationalism, race, and globalization in music while exploring these women’s sounds, identities, and performances.
- M 2:10 p.m.-4 p.m.
-
Instructor:
Ruth Opara
Info - 3 points
JAZZ TRANSCRIPTION & ANALYSIS
Prerequisites: the instructors permission. A progressive course in transcribing, proceeding from single lines to full scale sections and ensembles. Stylistic analysis based on new and previously published transcriptions.
- MW 4:10 p.m.-5:25 p.m.
-
Instructor:
Ole Mathisen
Wikipedia Info - 3 points
INSTRUMENTATION
Prerequisites: extensive musical background. Analysis of instrumentation, with directional emphasis on usage, ranges, playing techniques, tone colors, characteristics, interactions and tendencies, all derived from the classic orchestral repertoire. Topics will include theoretical writings on the classical repertory as well as 20th century instrumentation and its advancement. Additional sessions with live orchestral demonstrations are included as part of the course.
- TR 1:10 p.m.-2:25 p.m.
-
Instructor:
Jeffrey Milarsky
CULPA: 6
Wikipedia
Info
- 3 points
RECORDED SOUND
Prerequisites: The instructors permission. As music moves into the 21st century, we find ourselves surrounded by an ever-evolving landscape of technological capability. The world of music, and the music industry itself, is changing rapidly, and with that change comes the opening – and closing – of doorways of possibility. What does this shift mean for today’s practicing artist or composer? With big label recording studios signing and nurturing fewer and fewer artists, it seems certain that, today, musicians who want to record and distribute their music need to be able to do much of the recording and production work on their own. But where does one go to learn how to do this – to learn not only the “how to” part of music production, but the historical underpinnings and the development of the music production industry as well? How does one develop a comprehensive framework within which they can place their own artistic efforts? How does one learn to understand what they hear, re-create what they like and develop their own style? This class, “Recorded Sound,” aims to be the answer. It’s goal is to teach artists how to listen critically to music from across history and genres in order to identify the production techniques that they hear, and reproduce those elements using modern technology so they can be incorporated into the artist’s own musical works.
- W 1:10 p.m.-4 p.m.
- T 11:40 a.m.-2:30 p.m.
-
Instructor:
David Adamcyk
CULPA: 1 Info -
Instructor:
Anna Meadors
Info - 3 points
Sound Foundations
This foundational course in sounding media will begin by exploring how listening happens as well the tools necessary to capture and present that listening. Through hands-on experimentation and demonstration, this seminar will examine both the technical and semiotic use of sound as a material within creative practice. Fundamental acoustic and electronic principles, studio techniques, and the building blocks of analog and digital processes for the creation of sound will be explored creatively and critically. Through hands-on projects that implement these ideas we will examine critical terms through praxis. We will study theories of sound and listening that determine or are determined by technology, from the physical and social dimensions of the sounds we use to create, language (sound as a symbol or object), acoustics (sound in space), acousmatics (sound without a visual reference), and psycho-acoustics (sound as cognitive process). This class assumes no prior knowledge or technical skill. Readings will be assigned and we will look and listen to a lot of work, all of which will generate material to engage actively in discussions.
- T 2:10 p.m.-4 p.m.
-
Instructor:
Seth Cluett
h-index: 4 Info - 3 points
PROSEMINAR-HISTORICL MUSICOLGY
Introduction to Historical Musicology: the history of the discipline, major areas of research, source materials, and methodological problems.
Analytical Perspectives in New Music
Analytical Persp in New M
This course will explore plausible analytical responses to a selection of diverse sonic works from the past five decades, with emphasis on works that expand or challenge existing analytical methodologies and assumptions. The goal of this course is not to offer strict analytical models or standard procedures, but to foster analytical conversations that are pertinent to their subjects while broadening the understanding of what music analysis as it relates to new music can offer.
- R 10:10 a.m.-noon
-
Instructor:
Marcos Balter
Wikipedia Info - 3 points
Practicum in Music Composition
This course provides an opportunity for students in the Music Department’s Composition DMA program to engage in off-campus practicum or internships in music composition for academic credit that will count towards the requirements for the degree.
-
Instructor:
Marcos Balter
Wikipedia Info - 1 points
TOPICS IN THE HISTORY OF MUSIC THEORY
Explores varying themes in the history of music theory from antiquity to the present. Topics include the development of genres of musical analysis and description, problems in the historiography of music theory, musical discourse in relation to the human sciences, and other special issues.
- W 10:10 a.m.-noon
-
Instructor:
Benjamin A Steege
Info - 3 points
MUSIC SINCE 1900
Prerequisites: the instructor's permission. Investigation and analysis of styles and techniques of music since 1900, carried out in part through individual projects. (Prior to Spring 2008, the course was titled 20-Century Styles and Techniques.)
- T 12:10 p.m.-2 p.m.
-
Instructor:
George Lewis
CULPA: 10
Wikipedia
h-index: 18
Info
- 3 points
PROSEMINAR-ETHNOMUSICOLOGY I
Introduction to Ethnomusicology: the history of the discipline and the evolution of theories and methods. G6412, Proseminar in Ethnomusicology II: Contemporary Ethnography is offered Fall 2012.
- W 4:10 p.m.-6 p.m.
-
Instructor:
Kevin Fellezs
CULPA: 4
Info
- 3 points
SOUND: ADVANCED TOPICS I
This class explores advanced topics relating to the production of music by computer. Although programming experience is not a prerequisite, various programming techniques are enlisted to investigate interface design, algorithmic composition, computer analysis and processing of digital audio, and the use of computer music in contexts such as VR/AR applications. Check with the instructor for the particular focus of the class in an upcoming semester. Some familiarity with computer music hardware/software is expected. Permission of instructor is required to enroll.
- W 6:10 p.m.-8 p.m.
-
Instructor:
Bradford G Garton
CULPA: 14
Info
- 3 points
INDIV PROJECTS IN MUSICOLOGY
INDIV PROJECT IN MUSICOLOGY
Sec. 1: Ethnomusicology; Sec. 2: Historical Musicology; Sec. 3: Music Theory; Sec. 4: Music Cognition; Sec. 5: Music Philosophy.
-
Instructor:
Julia Doe
Info -
Instructor:
Kevin Fellezs
CULPA: 4
Info
-
Instructor:
Aaron A Fox
CULPA: 7
Info
-
Instructor:
Walter M Frisch
CULPA: 17
Info
-
Instructor:
Giuseppe Gerbino
CULPA: 12
Info
-
Instructor:
Knar Abrahamyan
Info -
Instructor:
Mariusz Kozak
CULPA: 4 h-index: 5 Info -
Instructor:
George Lewis
CULPA: 10
Wikipedia
h-index: 18
Info
-
Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
-
Instructor:
Benjamin A Steege
Info -
Instructor:
Christopher J Washburne
CULPA: 31
Info
- 3 points
INDIV PROJECTS IN MUSICOLOGY
Sec. 1: Ethnomusicology; Sec. 2: Historical Musicology; Sec. 3: Music Theory; Sec. 4: Music Cognition; Sec. 5: Music Philosophy.
-
Instructor:
Ruth Opara
Info - 3 points
SEM-HIST MUSICOLOGY:MUSIC,MIND
SEM-HIST MUSICOLOGY:RENAISSANC
- M 4:10 p.m.-6 p.m.
-
Instructor:
Giuseppe Gerbino
CULPA: 12
Info
- 3 points
SEM IN MUSIC COMPOSITION I
Individual projects in composition.
- W 3:10 p.m.-5 p.m.
- 3 points
Music Beyond 12 Tone Temperament II
This class is intended for students to develop composing skills for creating music “between the keys” (or “outside the keys”) of a traditionally tuned piano or organ. We will be analyzing relevant works and techniques of the present and of the past. Students compose and perform/present their own music influenced by these works and techniques. We will start with “just intonation” and with music independent from Western traditions. Students are free to enroll for “Music beyond 12 tone temperament II” before “Music beyond 12 tone temperament I”. Knowledge of the harmonic row’s intonation, at least until the 17th partial, is mandatory.
- T 4:10 p.m.-6 p.m.
-
Instructor:
Georg Friedrich Haas
Info - 3 points
SEM-ETHNOMUSICLGY:FLD MTHDS I
- T 2:10 p.m.-4 p.m.
-
Instructor:
Christopher J Washburne
CULPA: 31
Info
- 3 points
Dissertation Proposal Seminar I
Individual work with an adviser to develop a topic and proposal for the Ph.D. dissertation.
-
Instructor:
Julia Doe
Info -
Instructor:
Kevin Fellezs
CULPA: 4
Info
-
Instructor:
Aaron A Fox
CULPA: 7
Info
-
Instructor:
Walter M Frisch
CULPA: 17
Info
-
Instructor:
Giuseppe Gerbino
CULPA: 12
Info
-
Instructor:
Knar Abrahamyan
Info -
Instructor:
Mariusz Kozak
CULPA: 4 h-index: 5 Info -
Instructor:
George Lewis
CULPA: 10
Wikipedia
h-index: 18
Info
-
Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
-
Instructor:
Benjamin A Steege
Info -
Instructor:
Christopher J Washburne
CULPA: 31
Info
-
Instructor:
Ruth Opara
Info - 3 points