Romantic composers loved to escape from the realities of every life into the perilous virtual worlds they created in their music. How can we explore these worlds and understand the technical means with which they were created? How can we interpret the splendid sound of music by using words whose discursive strength seems to endange music's ephemeral nature? Through close reading of nineteenth-century music by Schubert, Schumann, Chopin, Liszt, and Brahms, we will explore the possibilities of musical expression and meaning, searching for parallels between poetic and musical interpretation.

The music industry is in a state of constant evolution, responding to technological advances, cultural revolutions, and musical innovations. How have musicians and record companies navigated these changes throughout the last century? This seminar examines analyzes the myriad of ways music is sold to the public, focusing on music’s role as a commodity which monetizes musical expressivity.

Immersive composition projects tailored to the needs and experience of the individual student, deepening the experience gained in creative courses like Music 269. One class meeting per week and one individual meeting per week. Group meetings will include discussions on compositional topics, study of repertory from a wide range of styles and traditions, and sharing of music by students and visitors in a workshop environment. The semester includes partnerships to write for professional musicians, as well as a final class concert.

How can a piece of instrumental music with no words tell a story? How can a song with words convey a sense of perfect abstract design? Musical form is an interaction of melody, harmony, rhythm, and other musical parameters that can be used to structure a temporal experience into a narrative experience. We will consider several genres across musical eras and traditions, including Baroque counterpoint, classical sonata forms, and American popular song forms, seeing how the shaping of common practice harmony gives voice to many shades of individuality within each tradition.

Whether it’s a rapper lyrically flowing over a looped breakbeat or a Bach fugue’s imitative melodic lines helping determine the piece’s structure, most of the music we interact with on a daily basis involves the careful interplay of two or more musical elements. Putting musical lines in conversation creates grooves, harmonies, and complex timbral sonorities. But how do musicians and listeners make sense of the relationship between simultaneously sounding musical ideas?

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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What does it mean to compose? What do you need to know in order to do it? We will investigate the practice of music composition across recent decades and create original work inspired by the music and techniques we encounter. We will study the use instruments and voices, how to provide a clear musical score for interpretation by performers, and how improvisation and technology can inform and become part of a composition. Students may bring any style or tradition to the table.

The Amherst College Glee Club, founded in 1865, is the fifth oldest collegiate choral ensemble in the United States. In this course, the ensemble will meet twice a week to develop the skill and knowledge to perform a wide range of musical styles and genres. Participation in this course will help singers develop their vocal ability in a positive environment, interact with living composers on newly composed repertory, as well as engage in the study of repertory from the Western and non-western choral canon.

This is a beginner-level course designed to explore jazz harmony and improvisation from theoretical and applied standpoints. Students will study common harmonic practices, modes and scales, rhythmic practices, 32-measure song form, and the blues, and will learn the historical contexts in which these practices have developed. An end-of-semester performance of material studied during the semester will be required alongside regular individual meetings with the instructor. One-hour ear training sections will be scheduled outside of regular class meetings.

Through composition, analysis, listening practice, and performance, we will build a solid working understanding of many principles of music common in Western musical traditions. The course aims to develop comfort and dexterity in engaging with music via listening, analysis, and creative work. Assignments include harmonizing melodies, writing short melodies and accompaniments, creative representation and listening projects, and annotated analysis. On several occasions we will use our instruments and voices to bring musical examples to life in the classroom.