Course Catalog

MUSC 101

Basic Musicianship

An introduction to the melodic, rhythmic, and harmonic structure of tonal music, with the emphasis on the development of a chordal vocabulary equally adaptable to classical and popular music. A required weekly practicum will stress ear-training (recognition of intervals, chords, rhythms, etc.) and its practical applications at the keyboard. Prerequisite for Music 201, may not be counted toward the major in music.

1.25 units, Lecture

MUSC 102

Trinity College Choir

The Trinity College Choir performs varied and challenging choral repertoire, in concert, each semester. Singers will also work on vocal techniques and related musicianship. Membership is by audition.

0.50 units, Studio

MUSC 103

Concert Choir

The Concert Choir normally sings two programs each semester, with repertoire chosen mainly from the classical realm, though music in popular idioms is occasionally performed. Membership is by audition.

0.50 units, Studio

MUSC 105

Instrumental Ensemble

Chamber ensembles are formed at the beginning of the semester to study and perform works from the classical repertoire. Permission is required; entrance by audition only. Every effort is made to group students with others at the same skill level.

0.50 units, Studio

MUSC 107

Lessons

Individual instruction in voice or an instrument is offered by teachers invited to the College campus; credit may also be granted for lessons taken from outside teachers who have been approved by the coordinator. Lessons require an extra fee. Fees for Lessons are $550 for eleven one-hour lessons, payable directly to the instructor. Financial aid to cover instructors' fees is available on a limited basis to Trinity Grant students. To begin the registration process, you must first request the "Lessons Pre-Registration Questionnaire and Guidelines" from Pat Kennedy (pkennedy@trincoll.edu).
Prerequisite: Music 101, which may be taken concurrently, or permission of the coordinator.

0.50 units, Studio

MUSC 109

Jazz Ensemble

The Jazz Ensemble performs several times each year. Permission is required; membership is by audition.

0.50 units, Studio

MUSC 111

Samba Ensemble

Study and performance of Brazilian samba music. Emphasis is on the samba drumming tradition. Related musical styles and musical genres are also included. Previous performance experience is not required, and students may take this course for more than one semester. Membership by audition and permission of the instructor.

0.50 units, Studio

MUSC 112

World Music Ensemble: Javanese Gamelan

A hands-on introduction to Javanese Gamelan, an ensemble from Indonesia consisting largely of bronze gongs and metallophones. No previous musical experience is necessary, and all instruments will be provided.

0.50 units, Studio

AFMU 113

World Music

No Course Description Available.

1.00 units, Lecture

MUSC 113

Introduction to World Music

A comprehensive survey of global traditions, including village and urban music and dance of Africa, Latin America, and the Caribbean, classical and contemporary music of India, the Far East, Asia, and indigenous traditions of the Americas. This course is designed to highlight the central role of musical expression in human life, exploring musical sound and movement in sacred, secular, ritual, and non-ritual contexts. No previous musical knowledge is required. Students are expected to learn basic listening skills and identify musical styles. The course culminates in a final research project about a world music tradition, ensemble, performer, or other related topic. Also listed in international studies–African studies, international studies–Asian studies, and international studies–Latin American and Caribbean studies.

1.00 units, Lecture

MUSC 114

Topics in World Music

An introduction to the contemporary music-scapes of China, Japan, and Korea. We will explore contemporary forms of instrumental music that retain, refigure, or renew connections with traditional forms: newly invented or modernized ensembles of traditional instruments; composers of avant-garde concert music and their encounters with traditional music; innovative performers of traditional instruments; and pop music and efforts of traditional instrumentalists to popularize their music. No background in music is required. Also listed under International studies/Asian studies.

1.00 units, Lecture

MUSC 117

Music of Black America

A survey of the music of black Americans from the antebellum period to the 1990s, the emphasis being on the cultural functions of the music composed. Major genres include slave songs, blues, jazz, and rap. Readings from the works of black American novelists, essayists, and poets complement discussions of the music itself.

1.00 units, Lecture

MUSC 118

American Popular Music

A broad survey of popular musics in the United States from the late 19th century to the present. We will explore blackface minstrelsy, the music of Tin Pan Alley, ragtime and big band jazz, early blues and country music, post-war pop singers, the evolution of rock and roll, R&B and soul, folk music, alternative music, hip-hop, and MTV and the popular mainstream. Themes of music and identity, multi- cultural sources, the business of music, and the influence of technology will be followed throughout the course. No previous background in music is required. Also listed in American Studies.

1.00 units, Lecture

MUSC 119

Musical-Theater Production

For departmental musical-theater productions, students may enroll on a show-by-show basis at the beginning of the show’s production process. To do so, see the instructor to arrange for credit. Offered only pass/fail.

0.25 units, Studio

MUSC 120

Acting in the Musical Theater

Musical-theatre acting is, in many ways, different from the technique and concerns of acting in non-musical plays. This course will train students in: the art of examining scripts and delivering dialogue onstage; utilizing one's singing abilities most effectively in the rendering of vocal material; handling oneself onstage, with respect to stage movement/awareness as well as the use of props and costumes; and issues involving auditioning and the selection of appropriate material. No previous training in music is required. Enrollment limited. Permission of the instructor is required.

1.00 units, Studio

MUSC 121

Listening to Music

A course in music appreciation, stressing the development of skills in listening to and recognizing music from a variety of historical periods, from the medieval era to the present day. An introduction to the principles of musical notation will precede the stylistic survey. No previous knowledge of music is required. This course cannot be counted toward the music major.

1.00 units, Lecture

MUSC 122

Listening to Music II

Symphonies, Choral Works, Opera. We will listen to a variety of music from the concert repertory of the eighteenth through early twentieth centuries, focusing on multi-movement works in their entirety. Out-of-class listening is an important component of this class: we will attend concerts at Trinity, at the Bushnell in Hartford, and at least one concert in either Manhattan or Boston. Featured composers include Vivaldi, Bach, Handel, Beethoven, Mozart, Schubert, Schumann, Brahms, Wagner, Verdi, Debussy, Bartok, and Stravinsky. No previous training in music is required.

1.00 units, Lecture

MUSC 124

The Birth of Modernism

Few periods have been as rife with creative artistic expression as the first three decades of the 20th century. This course will examine ballet, opera, and “mixed entertainments” by such composers as Debussy, Ravel, Falla, Stravinsky, Bartok, Sch9Aenberg, and Weill, taking note of the developments in dance, drama, and the graphic arts (as well as in scientific and philosophical awareness) that complement breakthroughs in musical style and form. Such well-known artistic names as Nijinsky, Picasso, Brecht, Cocteau, and Wilde will be discussed. No previous training in music is required.

1.00 units, Lecture

AMST 132

Cur Trends Black Musc Ex

No Course Description Available.

1.00 units, Lecture

MUSC 150

Women in Music

A broad survey of the music and music-making traditions of European and North American women from antiquity to the present. We explore the work and lives of women active as composers and performers in a range of genres, including the classical traditions, blues, jazz, and hip hop. No previous training or experience in music is required.

1.00 units, Lecture

WMST 150

Women in Music

A broad survey of the music and music-making traditions of European and American women from antiquity to the present. While the focus will be on women active as composers and performers in the classical traditions, some attention will be given to women's contributions to popular idioms, including blues, jazz, and, more recently, hip hop. The final project will be an interview with a Connecticut woman active as a music historian, composer, or performer. No previous training in music is required.

1.00 units, Lecture

MUSC 152

Italian Music of the Renaissance and Baroque

An introductory survey of the greatest period in Italian music, from the early 16th century to c. 1730. Composers to be studied include Palestrina; masters of the madrigal, such as Marenzio and Gesualdo; Claudio Monteverdi, the greatest Italian composer of the age; composers of harpsichord music, including Domenico Scarlatti; and concerto composers Arcangelo Corelli and Antonio Vivaldi. No previous background in music is required.

1.00 units, Lecture

ANTH 156

Wom Mus Crs-Cult Perspec

In this course we will explore women's roles as performers, composers, teachers, and consumers of music from a global perspective. Through historical, ethnographic, and sociological study we will consider how various cultures construct ideas about womanhood through musical practice and reception. Topics covered will include women as composers and performers in Western classical music: women in jazz, blues, rap, punk, salsa, and other popular forms; women-centered traditions from Eastern Europe, the Mediterranean, and the Middle East; and women performers in Latin America, Africa, and India. Issues we will discuss include ideas about sexuality, misogyny, the intersection of race and gender, and the separation of musical roles by gender. While there are no prerequisites, previous courses in music, anthropology, or women's studies will be helpful.

1.00 units, Lecture

MUSC 156

Music, Gender, & Society

(formerly "Women and Music in Cross-Cultural Perspective") This course provides global perspectives on women's and men's roles as performers, composers, teachers, and consumers of music. Through historical, ethnographic, and sociological methods, we will consider how various cultures construct ideas about womanhood and manhood through musical practice and reception. Topics include: gender issues in jazz, blues, rap, rock, and salsa; musical performance by transvestites and concubines; "girl power" and emergent musical identities for pre-/early adolescent girls; and women performers in Latin America, Africa, Eastern Europe and India. Classes will be framed by discussions about sexuality, misogyny, the intersection of race and gender, and the separation of musical roles by gender.

1.00 units, Lecture

WMST 156

Wom Mus Crs-Cult Perspec

1.00 units, Lecture

MUSC 163

J.S. Bach: His Life and Music

While Johann Sebastian Bach is arguably the greatest composer in the history of Western music, he is perhaps also the least cosmopolitan, not venturing more than a few hundred miles from his birthplace in Germany in 1685. A humble church and court musician, he composed music for specific uses and commissions (not merely, as is the case sometimes in later centuries, to "express himself"), seeking to honor God and to flatter Dukes and Kings. Among the works we will examine are instrumental music for solo instruments as well as for orchestra (suites, concertos, sonatas) and vocal music (cantatas, motets, Passion and Mass settings), looking at the pieces he wrote in the context of the society for which he produced them. We will also attend several performances of Bach works presented in the Hartford area. No formal training or previous courses in music are prerequisite.

1.00 units, Lecture

MUSC 164

Mozart and 18th-Century Music

An introduction to the life and music of Wolfgang Amadè Mozart (1756-1791). The course will also examine other composers of Mozart’s time, and consider the relationship between Mozart’s music and the main themes of Enlightenment thought in the 18th century. No previous training in music is required.

1.00 units, Lecture

MUSC 166

Beethoven: His Life and Music

An introduction to the life and work of Ludwig van Beethoven, who after more than 200 years is still the most loved and admired of all composers of classical music. This course will focus both on Beethoven’s masterpieces—his symphonies, piano sonatas, string quartets, and other works—and on the effect they had on audiences and the musicians who tried to follow in Beethoven’s footsteps. No previous training in music is required.

1.00 units, Lecture

MUSC 168

Igor Stravinsky: His Life and Works

It is generally agreed that Igor Stravinsky is the greatest of the 20th-century classical-music composers, his compositional range extending from the traditional forms of symphony, concerto, opera, and ballet to, most significantly, the mixed-genre form he invented that combines song, accompaniment, theater, dance, and mime. His 1913 ballet, The Rite of Spring, caused a modernist ruckus the ramifications of which we still feel today. Though Stravinsky "Westernized," as did many 19th- and 20th-century Russian composers, he nevertheless continued in his devotion to the ritual traditions of the Russian Orthodox Church and to Russian folk music, both of which saturated his music—whether it was composed in St. Petersburg, Paris, or Los Angeles. Its effect even entered pop culture to the extent that in 1940 the Walt Disney film, Fantasia, included large portions of the score to accompany no less than the evolution of Earth up to the age of the dinosaurs. More recently, John Williams's score for the movies Jaws and Superman, for example, reveal the inescapable pull of Stravinsky's innovations for composers of all types.

1.00 units, Lecture

AMST 172

Contemp Musical Theatre

An appreciation of the corpus of recent Broadway musicals, that, beginning with Stephen Sondheim's Company (1970), brought new aesthetic and intellectual vigor to an art form grown stale on the outmoded formulas of Rodgers & Hammerstein and Lerner & Loewe. "Musical comedy" no longer constitutes an appropriate form for these works born of contemporary consciousness and realism, works influenced by some of the most advanced streams of 20th-century artistic thought. Works to be studied include Hair, Pippin, Sweeney Todd, A Chorus Line, Cats, and many others. No previous training in music is required. Enrollment limited.

1.00 units, Lecture

MUSC 174

Jazz: 1900 to the Present

Through listening, discussion, and reading, this course will survey the development of jazz from ragtime and pre-jazz through New Orleans swing, be-bop, and modern jazz. Among composers and performers to be studied include Louis Armstrong, John Coltrane, Miles Davis, Duke Ellington, Scott Joplin, Thelonious Monk, Charles Parker, and Woody Shaw. No previous training in music is required.

1.00 units, Lecture

MUSC 198

Song and Songwriting

With emphasis on making original compositions, this course approaches the phenomenon of song in three traditions: folk, popular, and classical. Singing, playing, listening, and discussion will ground an in-depth, experiential exploration of a variety of song types, from musical and textual perspectives. Targeted written exercises, focused on basic musical and verbal compositional problems, will help students acquire techniques and skills, and get experience with several appropriate notational formats. Students will develop the sketches that come out of this process into complete, notated songs. The course culminates in an open, informal workshop performance, sharing students' original work. Students must be willing to sing during each class, and basic proficiency on a chordal instrument such as a guitar or keyboard is required.
Prerequisite: Music 101 or permission of the instructor.

1.00 units, Lecture

MUSC 200

Composition

Individual projects in free composition, with emphasis on acquiring and developing techniques of musical form and balance. When possible, student compositions will be performed.
Prerequisite: Music 201 or equivalent.

1.00 units, Seminar

MUSC 201

Diatonic Harmonic Practice

Study of the harmonic practices of the 18th and 19th centuries, through part-writing exercises and the analysis of typical works. An intensive course with integrated practicum sessions, which focus on the development of skills in sight-singing, dictation, and keyboard proficiency, and written exercises modeled after those works.
Prerequisite: Music 101 or equivalent preparation.

1.50 units, Seminar

MUSC 202

Chromatic Harmonic Practice

Further study of the harmonic practices of the 18th and 19th centuries, through part-writing exercises and the analysis of typical works. Weekly practicum sessions focus on the consolidation of skills in sight singing, dictation, and keyboard proficiency. Simultaneous enrollment in the one-hour practicum is required.
Prerequisite: Music 201 or equivalent.

1.25 units, Lecture

MUSC 206

Music,Technology, and Media

This course explores the way music is made for film, radio, the internet, and various other media, a process in which computers play an increasingly central part. It explains, in some detail, electronic music’s core technologies, specifically MIDI, digital audio and sequencing. These technologies will assist students in completing two “real-world” creative projects: an original composition (song, composition, sound-art, ambient music), and music set to a motion image. In addition to the two projects, there will be two exams, weekly research, and additional readings and listening assignments.
Prerequisite: Music 101, which may be taken concurrently, or permission of the coordinator.

1.00 units, Studio

MUSC 207

Conducting and Orchestration

Introduction to choral and orchestral conducting, supplemented by both practical and theoretical exercises in orchestration. Ability to read music is essential; background in music theory, though helpful, is not necessary. Prerequisite: permission of instructor.

1.00 units, Studio

MUSC 208

Electronic MIDI and Computer Music

This course is intended for music students who want to acquire skills in the creation and production of modern electronic music through the use of computer hardware and software, including the incorporation of MIDI sequencing, electronic score editing, basic audio recording and mixing procedures, and audio sampling editing and manipulation.
Prerequisite: Music 101 or permission of the instructor.

1.00 units, Laboratory

MUSC 211

Hist Western Music I

An intensive survey of the development of musical style in Europe through the analysis of selected works from the music of the Greeks to the late 17th century. Composers to be studied include Machaut, Dufay, Josquin Desprez, Palestrina, and Monteverdi. Prerequisite: Music 101 or permission of the instructor.
Prerequisite: Music 101 or permission of the instructor.

1.00 units, Lecture

MUSC 213

Topics in World Music: Film and Popular Musics of South Asia

This course, which spans the beginning of the 20th century to the present, surveys popular musics of South Asia, focusing on the eclectic and important film music of India. We will hear (and see) music of India, Pakistan, Bangladesh, Nepal, and Sri Lanka, and music by peoples of the South Asian diaspora throughout the world. Genres of music to be covered include film music, pop, jazz, ghazal, bhangra, fusion, and techno, among others. As background, we will also learn about regional traditions, such as bhajan and qawwali, and the classical systems of Hindustani and Karnatak music. Two interconnected goals of the course are to understand musical aspects of these styles and to comprehend music in cultural context. We will consider the music's history, industry, relation to film and other media, performance settings, and meaning in people's lives. The course involves extensive listening and viewing assignments, reading assignments from several disciplines (film studies, ethnomusicology, anthropology, the press, etc.), the performance of musical examples by students in class (no musical background is necessary), and other assignments, including a fieldwork project that deals with local expressions of this music. Also listed in International Studies.

1.00 units, Lecture

MUSC 215

Topics in World Music: Music of Latin America and the Caribbean

Historical processes of colonization, slavery, and underdevelopment have led to a huge diversity of musical traditions in Latin America and the Caribbean, making it difficult to consider this region as a unified “culture area.” We will explore a wide range of music and dance styles in the Americas, examining similarities and differences among them. No previous musical knowledge is required, but students are expected to learn basic listening skills and identify musical styles. Also listed under international studies—Latin American and Caribbean studies.

1.00 units, Lecture

MUSC 216

African Music

This course explores musical traditions and styles of the African continent, focusing primarily on sub-Saharan Africa. Through investigation of musical materials, written sources, and special workshops, we will study the role of musical sound and practice among different African societies and cultural groups. A central theme of the course concerns the continuity of traditional musics and the development of modern hybrid styles in the past century, as a window onto the processes that have shaped everyday experience and cultural identity in contemporary Africa. No prior musical knowledge is required, although previous courses in music, anthropology, or cultural studies are recommended. Music 113 is strongly recommended.

1.00 units, Lecture

MUSC 218

American Popular Music

A broad survey of popular musics in the United States from the late 19th century to the present. We will explore blackface minstrelsy, the music of Tin Pan Alley, ragtime and big band jazz, early blues and country music, post-war pop singers, the evolution of rock and roll, rhythm and blues and soul, folk music, alternative music, hip-hop, and MTV and the popular mainstream. Themes of music and identity, multi- cultural sources, the business of music, and the influence of technology will be followed throughout the course. No previous background in music is required. Also listed in American studies.

1.00 units, Lecture

PSYC 218

Psychology of Music

A broad survey of the aesthetic response to music. The course will cover perception, memory, and cognitive processes; musical structure and compositional genius - are some composers better than others?; musical taste and cultural beliefs - does a culture's music have to sound the way it does?; possible explanations for changing aesthetic ideals; music in other cultures. No previous training in music is required. Enrollment limited.

1.00 units, Lecture

MUSC 219

Toca Brasil! (Play Brazil!)

An interactive survey of Brazilian music. A comprehensive exploration of Brazilian music, this course will present an integrated approach through hands-on performance of Brazilian percussion music, combined with academic study of Afro-Brazilian culture, religion, and dance. Beginning with an overview of traditional Brazilian forms of musical expression, we will then analyze how these forms were incorporated into popular musical styles in the 1960s and 1970s. In recent years, fusions of new styles derived from traditional Brazilian and non-Brazilian music have emerged that reflect contemporary processes of globalization. The multi-faceted approach to be integrated into this course will include hands-on musical performance, readings, and audio/video recordings. No previous experience in music is required. Also listed under international studies.

1.00 units, Lecture

MUSC 220

Human Rights and Music

This course highlights the role of music in relation to human rights throughout the world. Material to be covered includes theoretical approaches towards the study of human rights and how music can serve as an important indicator of diverse social relationships in various contexts. It will also compare and contrast historical and cultural aspects of musical movements that were strongly connected to human rights in countries and regions such as Latin America and the Caribbean, the United States, South Korea, and South Africa.

1.00 units, Lecture

MUSC 221

Music and Gender in Latin America and the Caribbean

This course focuses on music produced by Latin American women, as well as on the role of gender in relation to musical and social expression throughout the region. Through analysis of various perspectives, this course will look at individual, group and national identity through the lens of individual artists (e.g. Carmen Miranda, Celia Cruz, Mercedes Sosa), performance ensembles (e.g. Filhas de Oxum), and gender inversion in religious and secular contexts. As a result of this process, we will be able to compile a comprehensive portrait that reflects broader aspects of Latin American music and culture. No prior musical knowledge is required, although previous courses in music, anthropology or cultural studies are recommended. Music 113 is strongly recommended.

1.00 units, Lecture

MUSC 222

Investigating Music and Culture

This course is an in-depth introduction to the study of music and culture. This course will focus on the gathering of primary-source materials and relate them to broader historical and cultural contexts. Through this process, students will develop interviewing techniques, learn how to document with video and audio recording equipment, and practice incorporating data into comprehensive research projects. Students will develop these techniques through participation with a Hartford-based arts organization.
Prerequisite: Music 113 or Music 215 or Permission of Instructor.

1.00 units, Seminar

MUSC 223

Post-Colonial Latin American Music

A survey of folkloric, popular, and classical music from Latin America, concentrating on the main composers, genres, and musicians of Mexico, Brazil, Argentina, and the Spanish Caribbean. No background in music required.

1.00 units, Lecture

MUSC 224

Music of Black American Women

A broad survey of the music of black American women, focusing on the women of Motown and the jazz singers of the 1950s. No previous training in music is required.

1.00 units, Lecture

MUSC 234

Protests in Music

This course examines the ways in which social and political issues are expressed in music. We will look at music written, composed, and performed in Paris, Harlem, and Hartford in the 18th, 19th, and 20th centuries, and explore the ramifications of the social and political issues for the music. Topics to be covered include: the music of the French Revolution; music of urban black America, 1960 to the present; Hector Berlioz, Ludwig van Beethoven, Claude Debussy, and “protests” in classical music. No previous experience in music is required.

1.00 units, Lecture

MUSC 272

Contemporary Musical Theater

An appreciation of the corpus of recent Broadway musicals that, beginning with Stephen Sondheim's Company (1970), brought new aesthetic and intellectual vigor to an art form grown stale on the outmoded formulas of Rodgers & Hammerstein and Lerner & Loewe. "Musical comedy" no longer constitutes an appropriate term for these works born of contemporary consciousness and realism, works influenced by some of the most advanced streams of 20th-century artistic thought. Works to be studied include Hair, Pippin, Sweeney Todd, A Chorus Line, Cats, and many others. No previous training in music is required.

1.00 units, Lecture

MUSC 274

Jazz: 1900 to the Present

1.00 units, Lecture

MUSC 301

20th-Century Practices

The study of harmonic, rhythmic, and timbral compositional practices of the 20th century, through written exercises and the analysis of typical works. Weekly practicum sessions emphasize advanced score-reading and sight-singing skills.
Prerequisite: Music 202.

1.00 units, Lecture

MUSC 311

The History of Western Music I

An intensive survey of the development of musical style in Europe through the analysis of selected works from the music of the Greeks to the mid-18th century. Composers to be studied include Machaut, Josquin Desprez, Monteverdi, Handel, and Bach.
Prerequisite: Music 201 or equivalent.

1.00 units, Seminar

MUSC 312

The History of Western Music II

An intensive survey of the development of musical style in Europe and the United States through the analysis of selected works from the mid-18th century to about 1900. Composers to be studied include Mozart, Beethoven, Schubert, Verdi, Brahms, and Mahler.
Prerequisite: C- or Better in Music 202.

1.00 units, Lecture

MUSC 313

Music of the 20th Century

An intensive survey of the developments in musical style from the late-1890s to the present day, primarily in Europe and the Americas. This course will synthesize historical studies of the composers and their times, and analytical approaches to their compositional practices.
Prerequisite: Music 202.

1.00 units, Seminar

MUSC 315

Hot Sauces: Salsa, Cuban Music and Latin Jazz

Comprehensive seminar exploring the history of salsa music, its Afro-Cuban and Puerto Rican roots, related developments in Latin Jazz, and the contemporary Cuban salsa known as timba. The course will focus on intensive study of major artists from the 1920s to present, including Arsenio Rodríguez, Machito, Tito Puente, Celia Cruz, Eddie Palmieri, Willie Colón, Ruben Blades, Los Van Van, and La India. To understand these powerful expressive forms, classes will emphasize listening and style analysis. We will look at key developments in Latin popular music, and explore the innovations of several musicians. The course concludes with a study of salsa's spread around the globe, from Latin America to Europe, Africa and even Japan.

1.00 units, Seminar

MUSC 324

Age of Beethoven

A study of the life and works of Ludwig van Beethoven, concentrating on the development of his mature musical style and his enormous influence on later 19th-century composers. Prerequisite: Music 201 and 212 or permission of the instructor.
Prerequisite: Music 201 and Music 212.

1.00 units, Lecture

MUSC 407

Senior Recital

The preparation and presentation of a full-length program. Enrollment is subject to the approval of the faculty in music. Interested students should consult with the chair two semesters, if possible, before the proposed recital date to discuss the requirements and receive a copy of recital policies and procedures. The course is open to both majors and non-majors. Concurrent enrollment in Music 107 is not permitted. Submission of an independent study form, available in the Registrar’s Office, and the approval of the instructor and chair are required for enrollment.

1.00 units, Independent Study

MUSC 415

Special Studies in Music

Individual or group study and research on a selected topic under the guidance of a member of the faculty in music. Permission granted only to advanced students. Submission of a completed independent study form, available in the Registrar’s Office, and the approval of the instructor and chair are required for enrollment.

0.50 units min / 1.00 units max, Independent Study

MUSC 420

Advanced Topics: Debussy, Faure, and Ravel

No Course Description Available.
Prerequisite: Music 312.

1.00 units, Seminar

MUSC 424

Age of Beethoven

A study of the life and works of Ludwig van Beethoven, concentrating on the development of his mature musical style and his enormous influence on later 19th-century composers.
Prerequisite: Music 301, 311, 312 and 313 (313 may be taken concurrently).

1.00 units, Seminar

MUSC 425

Topics in 19th-Century Music: The Operas of Verdi

An examination of the life and career of Giuseppe Verdi, the greatest master of Italian Romantic opera. We will survey his growth as a composer from the early works, based on the conventions of the operas of Rossini and Bellini, to the original masterpieces of his later years. Works to be studied include Luisa Miller, Il Trovatore, Rigoletto, Aida, and Don Carlo, as well as two great operas based on Shakespeare: Macbeth and Otello.
Prerequisite: Music 312.

1.00 units, Seminar

MUSC 426

Topics in 20th-Century Music: Debussy, Ravel and Faure

An intensive survey of the life and works of the three composers whose music and philosophies on music helped define a musical culture in France during the early years of the 20th century. A working knowledge of French is useful, but not required.
Prerequisite: Music 301, 311, 312 and 313 (313 may be taken concurrently).

1.00 units, Lecture

MUSC 490

Research Assistant

No Course Description Available.

0.50 units min / 1.00 units max, Independent Study

MUSC 497

Senior Thesis

No Course Description Available.

1.00 units, Independent Study