This course examines the discursive relationship between race, power and law in contemporary U.S. society. Readings examine the ways in which racial bodies are constituted in the cultural economy of American society where citizens of African descent dwell. We explore the rules and social practices that govern the relationship of race to gender, nationality, sexuality, and class in U.S. courts and other cultural institutions. Thinkers covered include W.E.B. DuBois, Kimberle Crenshaw, Derrick Bell, and Richard Delgado, among others.

Over the last century, religionists have labored to discover the meaning of African dispersal beyond the continent and its accompanying spiritual lineages. What theories of encounter sufficiently adjudicate the synthetic religious cultures of African-descended persons in North America, South America, and the Caribbean? What are the cross-disciplinary methodologies that scholars utilize to understand African religious cultures in the Western hemisphere? Firstly, this course will introduce the field of Africana religious studies.

This course is a survey of selected musical traditions from different parts of the world, including Africa, Indonesia, Indian, the Caribbean, and the United States. The course adopts an ethnomusicological approach that explains music as a cultural phenomenon, and explores the social and aesthetic significance of musical traditions within their respective historical and cultural contexts. It examines how musical traditions change over time, and how such changes reflect and relate to social and political changes within a given society.

This course is for all who stay to the end of the credits, purchase soundtracks, and argue over who should have won the Oscar for Best Score, along with anyone else interested in the undervalued importance of music to the general effect of a motion picture. We will explore and discuss the myriad ways in which these two media interact. The course will focus on classic scores by Herrmann, Morricone, and Williams, as well as the uses of pre-existing music in films of Kubrick and Tarantino.

Beginning ensemble. Well-suited to beginning to intermediate singers. Sight-reading and music theory are incorporated throughout the course. Emphasis is placed on developing techniques for healthy and beautiful vocal production, learning critical listening skills, singing with expression and understanding, and ultimately demonstrating growth as choral musicians. The ensemble explores music from a variety of languages, styles, and cultures.

Studies and presents a variety of orchestra repertoire on and off campus. Multiple opportunities to perform each semester.

This course provides an introduction to African history over the past three centuries. Venturing beyond the stereotypes, we will explore the complex histories that constitute a diverse continent. Special attention is given to spotlighting the voices of African people through a range of primary and secondary sources, including memoirs, film, music, cartoons, speeches and photography.

This course will focus on learning by ear and playing the polyrhythmic traditional music of the peoples of southern Ghana, Togo and Benin, including sections of Adjogbo and Agbekor. All students will learn drum, rattle and bell parts, some songs and some dance steps as well. Non musicians are welcome, but practicing between classes is required. The group will perform in a workshop at the end of the semester.

A select vocal ensemble that studies classic and contemporary jazz, Broadway and pop standards. Members are encouraged to audition for solos with the Big Band and Chamber Jazz Ensembles. There are several performance opportunities each semester.

A mixed instrumental group for beginning, intermediate, and advanced musicians. Students study a variety of classic and contemporary swing, Latin, jazz, and pop standards. There are several performance opportunities each semester.