(Offered as MUSI 238, ANTH 239 and FAMS 312) This course is about exploring, participating in, and documenting the musical communities and acoustic terrain of the Connecticut River Valley. The first part of the course will focus on local histories and music scenes, ethnographic methods and technologies, and different techniques of documentary representation. The second part of the course will involve intensive, sustained engagement with musicians and sounds in the Amherst vicinity (and beyond).

(Offered as MUSI 232 and ANTH 233) If a tree falls in a forest and no one is around to hear it, does it make a sound? A provisional answer from the field of sound studies is: no, the falling tree produces vibration, but does not make a sound absent a listening, hearing human subject. Take another step, and we arrive at ethnomusicologist John Blacking’s time-honored (but not unproblematic) definition of music as “humanly organized sound” and “soundly organized humanity.” In this course, we linger at the intersections of sound and music, listening and hearing to learn about the human.

(Offered as MUSI 227 and BLST 344 [US]) One of two courses that trace the development of jazz from its emergence in early 20th-century New Orleans to its profound impact on American culture. This course explores the emergence of bebop in the 1940s, the shift of jazz's relationship with American popular culture after World War II, and the dramatic pluralization of jazz practice after the 1950s. We will also look at the emergence of fusion and the jazz avant-garde of the 1960s and 1970s, and theorize the reformulation of "tradition" during the 1980s.

(Offered as MUSI 222 and EUST 222) One of three courses in which the development of Western music is studied in its cultural-historical context. Occasionally we will attend concerts in Amherst and elsewhere. Composers to be studied include Beethoven, Rossini, Schubert, Mendelssohn, Schumann, Chopin, Liszt, Berlioz, Wagner, Verdi, Mussorgsky, and Brahms. Regular listening assignments will broaden the repertoire we encounter and include a wide sampling of Classical and Romantic music.

Departments may offer a course known as SPECIAL TOPICS in which a student or a group of students study or read widely in a field of special interest. It is understood that this course will not normally duplicate any other course regularly offered in this curriculum and that the student will work in this course as independently as the instructor thinks possible. A Special Topics course may be elected in any semester. The course should be given a unique name that will be recorded on the student’s transcript.

Independent reading course.

Fall and spring semesters. The Department.

Departments may offer a course known as SPECIAL TOPICS in which a student or a group of students study or read widely in a field of special interest. It is understood that this course will not normally duplicate any other course regularly offered in this curriculum and that the student will work in this course as independently as the instructor thinks possible. A Special Topics course may be elected in any semester. The course should be given a unique name that will be recorded on the student’s transcript.