Classical Voice

This course provides individual performance instruction in voice with a focus on repertoire from the Western classical tradition. Students have weekly lessons with the instructor with an expectation of five hours per week of practice. The course is open to students of any level, beginning to advanced, and it may be repeated. Half Credit. Fall and spring semester.

How to handle overenrollment: null

Classical Voice

This course provides individual performance instruction in voice with a focus on repertoire from the Western classical tradition. Students have weekly lessons with the instructor with an expectation of five hours per week of practice. The course is open to students of any level, beginning to advanced, and it may be repeated. Half Credit. Fall and spring semester.

How to handle overenrollment: null

Classical Piano

This course provides individual performance instruction in piano with a focus on repertoire from the Western classical tradition. Students have weekly lessons with the instructor with an expectation of five hours per week of practice. The course is open to students of any level, beginning to advanced, and it may be repeated. Half Credit. Fall and spring semester.

How to handle overenrollment: null

Classical Piano

This course provides individual performance instruction in piano with a focus on repertoire from the Western classical tradition. Students have weekly lessons with the instructor with an expectation of five hours per week of practice. The course is open to students of any level, beginning to advanced, and it may be repeated. Half Credit. Fall and spring semester.

How to handle overenrollment: null

Classical Piano

This course provides individual performance instruction in piano with a focus on repertoire from the Western classical tradition. Students have weekly lessons with the instructor with an expectation of five hours per week of practice. The course is open to students of any level, beginning to advanced, and it may be repeated. Half Credit. Fall and spring semester.

How to handle overenrollment: null

Senior Honors

Advanced work for Honors candidates in music history and criticism, music theory, ethnomusicology, composition, or performance. A thesis, a major composition project or a full-length recital will be required. No student shall elect more than one semester as a double course. A double course.

Spring semester. The Department.

How to handle overenrollment: null

Students who enroll in this course will likely encounter and be expected to engage in the following intellectual skills, modes of learning, and assessment: n/a

Senior Honors

Advanced work for Honors candidates in music history and criticism, music theory, ethnomusicology, composition, or performance. A thesis, a major composition project or a full-length recital will be required. No student shall elect more than one semester as a double course. A full course.

Spring semester. The Department.

How to handle overenrollment: null

Students who enroll in this course will likely encounter and be expected to engage in the following intellectual skills, modes of learning, and assessment: n/a

Special Topics

Independent reading course. A half course.

Fall and spring semesters. The department.

How to handle overenrollment: null

Students who enroll in this course will likely encounter and be expected to engage in the following intellectual skills, modes of learning, and assessment: n/a

Special Topics

Independent reading course. A full course.

Fall and spring semesters. The Department

How to handle overenrollment: null

Students who enroll in this course will likely encounter and be expected to engage in the following intellectual skills, modes of learning, and assessment: n/a

Visible Musics

(Offered as MUSI 419 and THDA 247) What is music? What are its materials? Where does it begin and end? Where does it happen? And who makes it? In this seminar, we’ll explore music at its borders with other art forms, including sound, dance, theater, film, sculpture, the museum, and the archive. Asking questions of medium, audience, and authorship, we’ll study how music’s boundaries have been navigated—and at times dissolved—by a variety of groups and individuals from the late nineteenth century until today.

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