(Offered as MUSI 419 and THDA 247) What is music? What are its materials? Where does it begin and end? Where does it happen? And who makes it? In this seminar, we’ll explore music at its borders with other art forms, including sound, dance, theater, film, sculpture, the museum, and the archive. Asking questions of medium, audience, and authorship, we’ll study how music’s boundaries have been navigated—and at times dissolved—by a variety of groups and individuals from the late nineteenth century until today.

Drawing from the rich and varied history of composition in jazz, this course explores composing and arranging approaches in jazz and highlights the dynamic relationship between composition and improvisation central to this music. Using historical examples as models, students will compose and arrange small ensemble, large ensemble, and big band pieces, including pieces that incorporate blues forms, 32-bar Tin Pan Alley forms, modalism, extended and through-composed forms, and open improvisation. Immersive composition projects will be combined with individual meetings.

A continuation of MUSI 387. One class meeting per week and weekly private conferences. This course may be repeated. 

Requisite: MUSI 269 or the equivalent and consent of the instructor. Spring semester. Professor Sawyer.

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A continuation of MUSI 213, this course is designed to acquaint students with the theory and application of advanced techniques used in jazz improvisation. Work on a solo transcription will be a main focus throughout the semester. An end-of-semester performance of material(s) studied during the semester will be required of the class. A jazz-based ear-training section will be scheduled outside of the regular class times. Two class meetings per semester.

What can a song teach us? Why is it good to think with songs in the liberal arts? This course enters the artistic and social worlds of noteworthy songs from different places and eras—songs like Cameroonian superstar Manu Dibango’s “Soul Makossa” (1972), English hymn writer John Newton’s “Amazing Grace” (1772), Egyptian icon Umm Kulthum’s “Enta Omri” (1964), or Beyoncé’s “Formation” (2016). Students will encounter songs as objects and actions to cultivate their curiosity about the significance of genres, technologies, artists’ and audiences’ identities, and songs’ circulations.

The Amherst College Concert Choir is the premier performing and touring ensemble at Amherst College. Singers will learn to refine aural and vocal skills while singing challenging music from all genres and styles in this chamber setting. Participation in the Glee Club is a co-requisite for Concert Choir. Meets twice a week for 90 minutes and once a week for 30 minutes. Lecturer Arianne Abela. Fall and Spring Semester.

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Many young musicians find the close collaboration and artistic give-and-take of chamber music to be uniquely rewarding. Possible chamber music configurations include but are not limited to string quartets, piano trios, woodwind and brass quintets, and other ensembles with piano. Both self-formed and instructor-suggested groups are feasible, and enrollees are permitted to select repertoire from an array of choices recommended by the instructor.

The Amherst Symphony Orchestra is open by audition to all students regardless of major.  It rehearses twice a week from 7-930pm on Tuesday and Thursday evenings and performs three concerts per semester.  Membership ranges in size from fifty to eighty.  Repertoire includes overtures, concertos, symphonies and tone poems by canonic composers from the Baroque, Classical, Romantic and Modern periods in addition to works by a diversity of historically underrepresented artists.