MUSIC 101. (3)
EXPERIENCING MUSIC. The aim of this lecture course is to develop listening skills, musical understanding, and knowledge of historical and contemporary music practices. It examines music in its historical and cultural contexts through readings, lectures, demonstrations, audio-visual materials, listening guides, concert attendance, and creative assignments. No special musical knowledge or ability is required. The course is open to all students. Prerequisite: none.
MUSIC 103. (3)
UNDERSTANDING MUSIC THROUGH FILM. How do musical sounds come together to create certain effects, emotions, moods, and meanings? This course addresses this question by studying the sounds, history, and composition of music for film. Students investigate how music contributes to the experience of film, how film music is made, and how composers and filmmakers have historically taken different approaches to film scores and soundtracks. Along the way, students learn the fundamentals of music theory, composition, and production by creating original film music. No special musical knowledge or ability is required. Prerequisite: none.
MUSIC 121. (3)
FUNDAMENTALS OF MUSIC THEORY. This course introduces students to the fundamentals of musicianship, music notation, and music theory. Students learn how to identify basic music structures by ear, read music notation, construct scales and chords, and write melodies with accompaniment. The course includes applied skills such as ear training, basic keyboarding, and composition. Prerequisite: none.
MUSIC 146 – 246. (3-3)
PIANO I & II. These are practice-based classes that teach basic keyboard skills, an essential tool for the student musician. With a focus on technique, theory fundamentals, and repertoire in varied styles, beginning and intermediate piano students will gain an understanding of the keyboard, prepare scales and exercises, play solo and duet repertoire, sight read, and perform. The class will include lecture and keyboard sessions. 146/246 offered concurrently each fall. Prerequisite for 246: Music 146 or permission of the instructor.
MUSIC 211. (3)
INTRODUCTION TO CLASSICAL MUSIC. Classical Music explores western art music by highlighting significant musical works from different stylistic periods; focus is given to the musical features of each piece, as well as issues of performance practice, genre, and aesthetic values affecting compositional decisions. This lecture course emphasizes the development of listening skills, aural analysis, reading, and writing about music. Prerequisite: none.
MUSIC 212. (3)
HISTORY OF POPULAR MUSIC IN THE U.S. This course surveys the history, culture, and sounds of popular music in the United States from the 19th century to the present day. Through lectures, discussions, listening assignments, and writing, students link the development of popular music genres to significant historical trends and events, cultural and political movements, advances in technology, and music industry practices. Students also examine how the sound of popular music reflects and shapes aspects of social identity such as class, race, gender, and sexuality. Prerequisite: none.
MUSIC 216. (3)
MUSIC OF THE TWENTIETH CENTURY. This lecture course provides an intensive study of the art music of the past century. Significant composers and the musical, historical, philosophical, and social contexts of their works are explored; attendance at several concerts is required. Prerequisite: none. Offered on sufficient demand.
MUSIC 217. (3)
AMERICAN MUSIC. This lecture course is a survey of the music of the North American colonies and the United States from the 17th century to the present. The course seeks to establish the continuity of American music with the Western European tradition while exploring the diversity of influences from other world cultures. The continuing interactions of classical, folk, and popular music, which give American music its uniqueness, are fully examined. Concert attendance is expected. Prerequisite: none.
MUSIC 218. (3)
JAZZ HISTORY. This lecture course is an examination of jazz as both a musical and a sociological phenomenon. The course focuses on the musical developments that resulted in the creation of jazz, the major jazz styles from New Orleans origins to the present day, the musicians who perform jazz, and the influence the art of jazz has had on other areas of music. Attendance at a local jazz concert is required. Prerequisite: none. Offered on sufficient demand.
MUSIC 221. (4)
MUSIC THEORY I. This class is designed to refine music reading, writing, aural, and analytical skills. Classwork regularly involves critical listening, analysis, and exercises in composition. Topics include scales and keys, diatonic harmony, rhythm and meter, form, and score study. A weekly ear training session focuses on the development of aural skills related to the theoretical lessons. Prerequisite: Music 121, 146, or 246 or placement by the department. Offered: each spring.
MUSIC 312. (3)
POPULAR MUSIC AND RACE IN THE U.S. What role has race played in the formation of musical genres like country, soul, rock, and rap? Are “black music” and “white music” meaningful categories? How does the music of Latin American, Asian American, and mixed-race artists complicate “black and white” racial narratives in the U.S.? How have popular musicians addressed racism in the U.S.? How do musical preferences inform our racial identities, and how do racial identities inform our musical preferences? Can music transcend race? This course will address these questions (and more) through listening to, reading about, and reflecting upon historic and contemporary U.S. American popular music. Prerequisite: none, but Music 212 is recommended.
MUSIC 321. (3)
MUSIC THEORY II. This lecture class is an advanced continuation of Music 221. Topics include chromatic harmony, modes, the analysis of larger musical forms, and more advanced score study. Prerequisite: Music 221, or permission of the instructor.
MUSIC 335. (3)
CONDUCTING. This course explores the techniques of instrumental and choral conducting, repertoire, and leadership skills in a rehearsal setting. Students learn the history of conducting, basic physical and musical gestures, skills in score reading and musical interpretation, and leadership and rehearsal practices. Students conduct live musicians and execute musical performances in project-based assignments. Prerequisite: Music 121 or permission from the instructor. Concurrent or past enrollment in Music 245, 246, or 221 encouraged but not required. Offered on sufficient demand.
MUSIC 341. (3)
SONGWRITING. A workshop in the craft of writing songs. Students study songwriting through lyric- writing exercises, listening reports, short composition exercises, and reflections on the songwriting process. Each student writes at least three original songs, with one of these songs realized through performance or an audio recording for presentation to an audience. Prerequisite or corequisite: Music 221 or permission of the instructor.
MUSIC 342. (3)
ELECTRONIC MUSIC. An introduction to the history, production, and performance of electronic music. The course surveys the history of electronic music aesthetics, compositional techniques, technologies, genres, and cultures, primarily in the U.S. and Western Europe. Concurrently, students learn how to record sound and use digital audio workstations in order to make original electronic music productions, as well as how to DJ electronic music and perform collaboratively in a live setting. Prerequisite: none.
MUSIC 360. (3)
TOPICS IN MUSIC. This course explores a specific aspect of music with an emphasis on a topic in theory, history, or performance. The course concentrates on a performance area (e.g., Choral Conducting), a genre (e.g., The Symphony), or a topic interwoven with the discipline (e.g., Music and Social Change). The course examines its topic through reports, discussion, practice, as well as through papers and/or performances, depending on the topic. Prerequisite: Any music course or permission of the instructor.
MUSIC 391. (3)
MUSIC AS SOCIAL BEHAVIOR. Music-making provides illustrative examples of the social behaviors of music-makers, music leaders, and human groups. Through its effects on the human mind and body, music is a powerful communication tool playing a significant role in social cohesion, identity, and culture. In this interdisciplinary course, students will explore why music matters to humans through critical analysis and discussion of texts from the fields of ethnomusicology, anthropology, neurobiology, cultural studies, psychology, leadership studies, conducting, and politics, and religion. No prior musical knowledge is necessary for this course. Course work will include daily seminar-style discussions, reading, writing, student presentations, and experiential activities pertaining to music.
MUSIC 498. (1)
PRE-THESIS STUDY. Students must take this course the semester before taking Music 499 (Senior Thesis) to craft the thesis project proposal and to strengthen the skills required for the thesis. The student chooses and works with the thesis advisor to develop a plan for the upcoming semester that includes the wording of the thesis proposal and efforts sufficient to convince the advisor that he is prepared to undertake the thesis project.
MUSIC 499. (3)
SENIOR THESIS. This course involves the student in a project designed specifically to reflect his interest in the arts. In consultation with the faculty of the Fine Arts Department, and under the guidance of the appropriate member of that department, the project is undertaken in the student’s senior year, and must include appropriate documentation. Prerequisites: Music 498 and senior status.
PERFORMANCE STUDIES IN MUSIC
Music performance study courses are listed below. All performance courses have the following in common: They are offered every semester; the classroom experience culminates in public performance(s); attendance is a necessary part of fulfilling the course requirements; students study the material for performance in the context of its period(s) and its critical reception, with attention to the terms and special considerations necessary for its appreciation; each student writes a paper upon an aspect of performance or the material used in performance, or takes a performance examination upon the same; grading is based on attendance and class participation, quality and effort in performance, and the paper or performance exam; in each course 1 hour of academic credit can be earned.
MUSIC 250, 251, 252, 253, 350, 351, 352, 353. (1)
THEORY AND PRACTICE OF CHORAL MUSIC. A sequence of courses involving the study, analysis, and performance of choral works in a variety of styles and traditions. Integral to the course is the study of basic music theory, terminology, and vocal techniques, as well as application of foreign languages, history, and social context as they relate to the specific literature of the semester. Because of the special nature of this course, it is possible to register for it late without penalty through the second full week of the semester. Special rules apply to courses in Performance Studies (see above).
MUSIC 254, 255, 256, 257, 354, 355, 356, 357. (1)
THEORY AND PRACTICE OF INSTRUMENTAL ENSEMBLE MUSIC. The work of this performance class will culminate in the public performance of ensemble music in various venues. Also integral to the course is the study of basic music theory, terminology, sight-reading, solo techniques, and ensemble playing. Because of the special nature of this course, it is possible to register for it late without penalty through the second full week of the semester. Special rules apply to courses in Performance Studies (see above).
MUSIC 270, 271, 272, 273, 370, 371, 372, 373. (1)
PRIVATE APPLIED LESSONS. Private instrumental or vocal lessons are practice-based classes that teach musical technique, theory, and repertoire in varied styles. Students prepare scales and exercises, play solo repertoire, sight read, and perform. Students meet weekly for half-hour private lessons with an instructor, and are responsible for practicing their instrument regularly. Students will perform a selection of repertoire in a recital or performance exam format at the end of the semester. Individual instructors will assign repertoire appropriate to each student’s individual needs. Students will be evaluated based on their mastery of assigned repertoire and associated assignments. There is an additional fee for students enrolled in private applied lessons. Prerequisite for 270: none. Prerequisite for other course numbers: the previous course number in the sequence. Special rules apply to courses in Performance Studies (see above).
updated 7/25/2025