The course begins with an overview of the ways music analysis informs, and is informed by, other disciplines of musical inquiry: history, criticism, etc. The course culminates in an application of various analytic approaches to a small group of related works within the Western art music tradition. This year the topic will be Mozart's Operas, and we will study three works that exemplify the three main operatic genres in which Mozart worked: opera seria (Idomeneo), opera buffa (The Marriage of Figaro), and Singspiel (The Magic Flute).

Art and music are a part of all human cultures. Is there something about the human brain that drives us to paint and sing? We will examine how the brain simultaneously processes different aspects of visual and auditory stimuli, ask how this processing may affect the way we do art and music, and explore where these phenomena may occur in the brain. As we engage in discussion and hands-on activities, we will discover the commonalities between the arts and the sciences including practice, experimentation, exploration, innovation, and creativity.

Students will explore a number of musical styles and approaches in the process of creating their own extended works, with the possibility of performances a the end of the semester.

Highly select vocal ensemble drawn from Glee Club to perform original works for women's chorus, with emphasis on contemporary music.

A relatively advanced women's choir with a varied classical, contemporary, and folk-derived repertoire. Occasional collaborations with men's choruses and orchestra, sometimes involving long-distance travel. Previous ensemble experience (vocal or instrumental) and strong musicianship--including sight singing--are prerequisites.

The second in a three-semester survey of Western music history, Music 282 examines the cultures of art music in Europe and the Americas from 1700-1900, focusing on the evolution of styles and genres and the changing roles of composers, performers, and audiences.

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. Non-musicians are welcome; practice between classes is required. The group will perform in a workshop at the end of the semester.

A select instrumental combo open to more advanced jazz musicians with emphasis on complex forms such as Dixieland, bop, and fusion. Students also learn exercises and techniques that will aid them in solo improvisation.