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

Requisite: MUSI 387 or the equivalent and consent of the instructor. Spring semester. Professor Sawyer.

Members of the class will be assigned to chamber ensembles, mastering a range of repertory choices from the past and present. Ensembles will include both student and artist musicians, preparing works together for performance through class sessions and private coachings. Intensive class analysis will serve as the basis of musical expression and interpretation. This course is open to singers and instrumentalists. MUSI 310 may be elected either as a full credit or half credit and may be repeated.

Admission with consent of the instructor. Spring semester. Professor Schneider.

Members of the class will be assigned to chamber ensembles, mastering a range of repertory choices from the past and present. Ensembles will include both student and artist musicians, preparing works together for performance through class sessions and private coachings. Intensive class analysis will serve as the basis of musical expression and interpretation. This course is open to singers and instrumentalists. MUSI 310 may be elected either as a full credit or half credit and may be repeated.

Admission with consent of the instructor. Spring semester. Professor Schneider.

This course will explore compositional techniques continually growing from the numerous traditions that filter through Western art music styles. Innovate works by twentieth and twenty-first century composers that generate new approaches to these traditions (through melody and scale, rhythm and meter, harmony, instrumentation, and musical structure) will be examined and practiced to the best of our collective abilities. The course will employ improvisation as a source of ideas for written compositions and as a primary compositional mode.

In this course we will examine the history of electroacoustic music in tandem with practical composition assignments so that we may explore how class, race, gender, and sexuality are expressed through sound and music technologies.  This course introduces soundscape composition, a subset of electroacoustic music, as an artistic practice and research method.  Students will use journaling in order to document their individual relationships with music and to reflect on the role sound plays in the formation of personal and community identity.  Weekly assignments include the creati

(Offered as THDA 255, ENGL 223, and MUSI 255) This studio course is designed as an interactive laboratory for dancers, composers, actors, writers/poets, vocalists, and sound artists to work together to create meaningful interactions between sound, movement, and text.

A continuation of MUSI 113, 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.

A continuation of MUSI 241 and the second of the required music theory sequence for majors. In this course we will study different manifestations of formal principles, along with the relationship of form to harmony and tonality. We will start with pre-tonal music (through works by keyboard and vocal composers like Orlando Gibbons and Jan Pieterszoon Sweelinck), leading to a focus on the understanding of musical form in the eighteenth and nineteenth centuries.

Basic principles of harmonic and contrapuntal technique. Emphasis will be on the acquisition of writing skills. This course is the first of the required music theory sequence for majors. Two class meetings and two ear-training sections per week.

(Offered as MUSI 231 and ARHA 231)  How do the works that artists create come to mean something to their audiences, to make us cry, make us swoon, or make our blood boil?  How do these objects and performances come to be connected to ideas, how do they affect our bodies, and why? This course explores the ways that visual and performing artists use the body to imbue their work with meaning. Students examine such concepts as the narrative, myth, transcendence, semantic power, and notions of individual and collective identity.