MUSI 101: Introduction to Musical Literature

Deborah Heckert

3 credits, Instructor Permission

MW 3:30-4:45, Maury 209

A survey of the musical literatures that make up the common listening experience of contemporary Americans, with an emphasis on "classical" European or Eurocentric music from the Middle Ages to the present, and a range of African-American musics. The course will consider how musical choices reflect or create our cultural identities, including our attitudes toward gender, ethnicity, social relationships, and ideas of the sacred. Elements of musical perception will be taught as necessary to understand each style. Lectures, journals, midterm and final.

MUSI 131: Introduction to Musical Skills

TBA

3 credits

Section 1: MWF, 9:00­9:50, OCH 107

Section 2: MWF, 10:00­10:50, OCH 107

Prerequisite: No previous knowledge of music is required.

This course is not open to students already qualified to elect MUSI 231 or 331. This course begins by establishing a basic competency in reading and writing musical notation, and subsequently examines principles of melody, and the construction and progression of chords. The class will study rhythm, melody and harmony in selected single pieces, including some popular songs.

MUSI 205: American Musical Mavericks

Matthew Burtner

3 credits

MW, 12:00-12:50, OCH 107 and discussion section (see COD)

American Musical Mavericks looks at the rich tradition of innovation and experimentation in American Music. From the log cabin composers of Colonial America to the experimental classical music tradition embracing hobos, scientists and political activists, this tradition grew out of a desire to find a distinctly American musical voice. This seminar will explore an approach to making music that transcends musical genres. From experimental classical music to electronic and computer music to free jazz to punk to turntablism and sound art, the course will engage with music which has defied conventions of popular culture in favor of a distinctive path. In addition to reading, listening and writing about this music, students in the class will also compose a new piece of music using their own creative facilities.

MUSI 210: Film Music

Stephan Prock

3 credits, Instructor Permission

TR, 9:30-10:45, CLM 201

Scholarly and critical study of music in cinema. Specific topics for the semester announced in advance. No previous knowledge of music required.

MUSI 212: History of Jazz

Scott DeVeaux

4 credits

MW 1:00-1:50, WIL 402 and discussion section (see COD)

No previous knowledge of music is required. This course meets the Non-western perspectives requirement. This course is a survey of the history of jazz from its beginnings around 1900 through the stylistic changes and trends of the 20th century. Important instrumental performers, vocalists, composers, and arrangers are listened to and discussed.

MUSI 230A: Keyboard Skills

Allison Robbins

2 credits, Instructor Permission

MWF, 9:00-9:50, OCH 113

Introductory keyboard skills; includes sight-reading, improvisation, and accompaniment at the keyboard in a variety of styles. No previous knowledge of music required. Satisfies the performance requirement for music majors.

MUSI 230C: Fretboard Harmony

Michael Rosensky

2 credits, Instructor Permission

MWF, 1:00-1:50, OCH 113

The level of this course will vary from semester to semester depending on the guitar experience of students who enroll. Students should contact Mike Rosensky (mlr5q) during pre-registration letting him know of their interest in the course and of their intent to show up for the first class of the semester when the level and the make-up of the class will be ultimately determined. In Fretboard Harmony a theory-based approach will be taken to understanding how musical materials (scales, arpeggios, chord voicings) "fit" on the guitar.  The majority of class meeting time is spent with guitars in hand "drilling" new material.  Practice methods will be explored, with an emphasis on learning how to practice effectively and efficiently.  The class is fairly intensive and students should be prepared to practice daily in order to keep up with the material.

MUSI 261A: Marching Band

William Pease

3 credits

MTR, 6:00-8:00

The Cavalier Marching Band is a 170+ member auditioned ensemble open to all University of Virginia students. The Cavalier Marching Band performs at all UVA home football games and selected away games each season. The band also travels to Bowl games and performs at special events both on and off campus during the fall semester. After completing its first year, The Cavalier Marching Band has already become known for its exciting entrances and big powerful sound. Halftime shows range from country music to rock to classical and everything in between. For more information on the Cavalier Marching Band, please visit the marching band's website: http://www.virginia.edu/marchingband or contact the Cavalier Band Office at (434)-982-5347. Dates for the 2005 Cavalier Marching Band Pre-Season Band Camp are Thursday, August 11, 2005 ­ Friday, August 19, 2005.

MUSI 300: Studies in Pre-Modern Music

Bruce Holsinger

3 credits, Instructor Permission

TR, 2:00-3:15, OCH 107

This course covers the history of Western music from the beginnings of Gregorian Chant until approximately 1500. The course will offer a blend of study of the music itself with a consideration of the history that brought the music into being and provided its place in European society.

MUSI 302: 17th and 18th Century Music

Richard Will

3 credits

TR, 9:30-10:45, OCH 107

Music and Identity in 18th-Century Europe and North America. We shall study works by J.S. Bach, Handel, Haydn, Mozart, Rameau, and others, with an emphasis on how their music helped to construct individual and social identities during the Enlightenment. Critical and stylistic study of operas, sacred works, and instrumental music; readings from 18th-and 20th/21st-century texts on music; comparison of modern and historical performance practices.

MUSI 305: 20th Century Music

Deborah Heckert

3 credits

TR, 3:30-4:45, OCH B012

Prerequisite: the ability to read music, or any three-credit course in music, or permission of the instructor.

Fulfills Second Writing Requirement. A study of the musical heritage of the past century, including European art music, popular music, and folk musics of various kinds, as seen through historical, critical and ethnographic approaches.

MUSI 308: American Music

Melvin Butler

3 credits

TR, 3:30-4:45, OCH 107

American Music will examine historical and ethnomusicological perspectives on various musical genres in the United States from the mid-nineteenth century to present day. Reading and writing assignments this semester will deal primarily, but not exclusively, with African American contributions to musical traditions such as spirituals, blues, jazz, gospel, and rhythm-and-blues. Discussions will center on the role of musical sound in articulating and negotiating various collective and "national" identities. We will also carefully consider issues of race and ethnicity as they pertain to the social construction and transnational mediation of "Americanness."

MUSI 311: Introduction to Music Research

Jane Penner

1 credit

W, 10:00-10:50, WIL 308

The first course required for all music majors. The student is introduced to the use of the Music Library and reference works in the field of music.

MUSI 331: Theory I

3 credits

Section 1: Michael Puri, MWF, 10:00-10:50, OCH B012

Section 2: Fred Maus, MWF, 12:00-12:50, OCH B012

Studies the pitch and rhythmic aspects of several musical styles, including European art music, blues, African drumming, and popular music. Focuses on concepts and notation related to scales and modes, harmony, meter, form, counterpoint, and style. Prerequisite: Ability to read music, and familiarity with basic concepts of pitch intervals and scales. Corequisite: MUSI 333A, 333B, or 333C, except for students who have already passed the exit test for MUSI 333C.

MUSI 333 A, B, and C

These lab courses give practical experience with many aspects of musical perception, performance, and creation. These will include sight-reading and sight-singing; dictation of melody, rhythm, and harmony; aural identification of intervals, chords, and rhythmic patterns; and exercises in musical memory and improvisation. Students entering the sequence take a test to determine the appropriate level of their first course. At the end of each course, students take a placement test to determine whether they may enter a higher level course. Courses may be repeated for credit, but each course may be counted toward the major only once. MUSI 333A, B, and C are co-requisites for MUSI 331, 332, and 431. This means that students pre-registering in the latter courses must also pre-register in MUSI 333A, B, or C unless they have already taken the highest level course and have been passed out of further co-requisite requirements. Students interested in taking Musicianship but not Theory are encouraged to register for MUSI 333A, B, or C as space permits. Such students may not pre-register. They should plan to register by adding in Fall after taking a placement exam.

MUSI 333A: Musicianship I

Scott DeVeaux

1 credit

Section 1:

M, 11:00-11:50, OCH 107

W, 11:00-11:50, OCH B012

Section 2:

M, 11:00-11:50, OCH 107

F, 11:00-11:50, OCH 107

Prerequisite: permission of instructor. (Please see information above.)

MUSI 333B: Musicianship II

Scott DeVeaux

1 credit

M, 11:00-11:50, OCH B012

W, 11:00-11:50, OCH 107

Prerequisite: passing score on the exit test for MUSI 333A. (Please see information above.)

MUSI 333C: Musicianship III

Scott DeVeaux

1 credit

W, 11:00-11:50, OCH 107

F, 11:00-11:50, OCH B012

Prerequisite: passing score on the exit test for MUSI 333B. (Please see information above.)

MUSI 338: Introduction to Composition

TBA

3 credits

TR, 9:30-10:45, OCH B012

MUSI 339: Introduction to Music and Computers

Matthew Burtner

3 credits

MW, 2:00-3:15, OCH B012

Lab: Times TBA.

Prerequisite: permission needed from instructor.

Introduction to Computers in Music is an upper-level introductory course in music technology. Students gain theoretical, practical and historical knowledge of electronic and computer music. An emphasis is placed on creative hands-on experience composing computer music. Theory topics include introductions to acoustics, electricity, digital audio, MIDI, and introductory sound synthesis. Students learn skills in soundfile editing, multitrack sound mixing, MIDI, and sound processing. This is a composition class and assignments are creative in nature.

MUSI 351-358, Applied Music Lessons**

(0.5 ­ 2 credits)

** You cannot register for these lessons through ISIS. See this music department webpage for more information: www.virginia.edu/music/appliedlessons.html.  Registration information is also posted outside the music office at the start of each semester.

MUSI 351: VOICE

Amanda Balestrieri
Pamela Beasley
Edmund Najera
Stephanie Nakasian O'Brien
Louisa Panou-Takahashi
Dawn Thompson

MUSI 352: PIANO

Ruth Barolsky
Mary Kathleen Ernst
Bob Hallahan (Jazz)
Barbara Moore
Mimi Tung 

MUSI 353: HARPSICHORD or ORGAN

Paul Walker

MUSI 354: STRINGS   

TBA (Violin)
Amy Leung (Cello)
Constance Gee (Viola)
Peter Spaar (Doublebass/Jazz)

MUSI 355: WOODWINDS

Jeff Decker (Saxophone/Jazz Studies)
Nancy Garlick (Clarinet)
Alan Cox (Flute)
Scott Perry (Oboe) 
Ibby Roberts (Bassoon)

MUSI 356: BRASS

John D'earth (Jazz Trumpet, Jazz Improv)
Paul Neebe (Trumpet)
Dwight Purvis (Horn)
Barry Slayton (Tuba)

MUSI 357: PERCUSSION

Kevin Davis (Latin percussion: Afro-Cuban, salsa, meringue, cha-cha)
Robert Jospé (Jazz Drum)
Eric Stassen (Percussion)
Nitin Tripathi (Tabla)

MUSI 358: HARP & GUITAR

Heidi Lehwalder (Harp)
Michael Rosensky (Jazz and Classical Guitar)
Ben Krakauer (Banjo)
Gregory Howard (Chapman stick)

MUSI 360: Jazz Ensemble

John Dearth

1-2 credits

TR, 3:30-5:30, OCH B018

Prerequisite: Permission of the instructor by audition.

The Jazz Ensemble, with John D'earth as musical director, consists of a big band and a small combo, performing a repertory ranging from the Swing Era of the 1930's to modern jazz-rock arrangements. Opportunities for solo improvisation as well as sectional playing are available. Students already participating in the Jazz Ensemble are requested to pre-register for the class. Musicians wishing to audition should pre-register and sign up for an audition time during the registration period. If they are not selected in the auditions, they may drop the course.

MUSI 361: Symphony Orchestra - Strings

Carl Roskott

2 credits

M, 5:30 - 7:00, OCH 107

W, 7:30 - 10:00, OCH 101

Prerequisite: Permission of the instructor by audition. Information about auditions is on the music website.

Performance of works from both the standard and the contemporary repertoire. The orchestra presents a full concert season of five pairs of subscription concerts, a holiday concert, and an annual children’s concert.

MUSI 361: Symphony Orchestra - Winds

Carl Roskott

2 credits

W, 7:30 - 10:00, OCH 101

Prerequisite: Permission of the instructor by audition. Information about auditions is on the music website.

Performance of works from both the standard and the contemporary repertoire. The orchestra presents a full concert season of five pairs of subscription concerts, a holiday concert, and an annual children’s concert.

(000F) Wind-bassoon
Elizabeth Roberts
F, TBA

(000G) Wind-clarinet
Nancy Garlick
TBA

(000H) Wind-flute
Alan Cox
TBA

(000J) Wind-horn
Dwight Purvis
TBA

(000K) Wind-oboe
Scott Perry
TBA  

(000L) Wind-percussion
I-Jen Fang
TBA

(000M) Wind-trombone
Haim Avitsur
TBA  

(000N) Wind-trumpet
Paul Neebe
TBA

MUSI 362, Wind Ensemble

Bill Pease

2 credits

MW, 12:00 - 1:50, OCH 101

Prerequisite: Permission of the instructor by audition.

The University of Virginia Wind Ensemble is a 45-member ensemble, which features the most outstanding brass, woodwind, and percussion players at the University. The focus of this ensemble is to explore new literature as well as perform the masterworks of the wind band era. The wind ensemble also works with outstanding guest performers and conductors. This group is predominately made up of non-music majors who enjoy the genre of the wind band. Open to all University of Virginia students, auditions are held prior to the start of each semester. For more information about the Wind Ensemble, please visit the wind ensemble's website http://www.virginia.edu/music/ensembles/windensemble or call the Band Office at (434)-982-5347.

MUSI 363: Chamber Ensembles

1-2 credits

Prerequisite: Permission of the instructor by audition. Ensembles listed below.

Flute Ensemble

Alan Cox

Time and location TBA

Prerequisite: Instructor's permission by audition.

This course will consist of the study and performance of music for 2 to 5 flutes. Focus will be on improving ensemble skills, musicality, and understanding of various musical styles. Performances will be at the discretion of the instructor. Please contact amc7s@virginia.edu to schedule an audition before classes start.

Double Reed Ensemble

Scott Perry

W, 5:30-7:00, OCH 113

Clarinet Ensemble

Nancy Garlick

TBA

Exploration of European and American styles of chamber music repertoire from the past four centuries, including music for clarinet trios, quartets and/or quintets. Emphasis placed on performance aspects of chamber music, including balance, intonation and rhythm. At least one performance per semester. The course is designed for advanced, practicing [undergraduate and graduate] clarinetists and admission is by audition. Contact the director at nbg4c@virginia.edu for appointment. One credit.

Woodwind Quintet

Ibby Roberts

W, 9:30-11:00, TBA

Explore, rehearse and perform woodwind quintets, including both standard and more obscure works.  Focus on developing chamber music playing skills, learning the tendencies of the woodwind instruments, developing musicianship, and enjoying making and sharing music!

Horn Ensemble

Dwight Purvis

T, 3:30-5:20, OCH 101

Jazz Chamber Ensemble

Pete Spaar

TR 17:30 ­ 19:30, Rm. B018

Prerequisite: Instructor permission required.

Brass Quintet

Paul Neebe

W, 2:00 - 3:15, OCH 101

Jazz Improvisation Workshop

John Dearth

TR, 5:30-7:00, OCH B012

Prerequisite: Instructor permission required.

The Jazz Improvisation Workshop is open to musicians with prior jazz experience at the discretion of the instructor. Come to first class meeting.

MUSI 364: String Ensemble

TBA, Constance Gee, Amy Leung

1-2 credits

TBA

MUSI 364: Chamber Music Seminar

Constance Gee, Mimi Tung

1.0-2.0 credits, Instructor Permission

TBA

MUSI 364: Chamber Singers

Michael Slon

1 credit, Instructor Permission

F, 1:00-3:15, OCH 107

MUSI 365: University Singers

Michael Slon

2 credits, Instructor Permission

MW, 3:30-5:30, OCH 101

Prerequisite: Permission of the instructor by audition.

The University Singers is a select SATB ensemble performing a wide variety of accompanied and a cappella choral music. The group is open to all University students by audition. Auditions are held at the beginning of each semester.

MUSI 366: Opera Workshop

 

1-2 credits

M, 7:00 - 10:00, OCH 107

Prerequisite: Permission of the instructor by audition.

Applied acting in operatic and musical theater scenes is the heart of the Workshop learning experience. The scenes, or entire work, will be chosen from current operatic and musical theater repertory and will be sung in the original language, with a few exceptions.  All singers will be asked to alternate, singing lead and secondary parts, as well as chorus. Individual coaching, choreography and many opportunities for solo singing for all. Outreach program.

MUSI 367: Early Music Ensemble A, B, C

Paul Walker

1credit, Instructor Permission

367A: R, 7:00-11:00, OCH 113

367B: R, 3:30-5:20, OCH 113

367C: TBA

Prerequisite: Permission of the instructor by audition.

Study and performance of Medieval, Renaissance, and Baroque music on instruments appropriate to each period. Students are taught to perform on recorders, viols, and other authentic instruments. Singers are also encouraged to audition.

MUSI 367A: Baroque Orchestra

The Baroque Orchestra performs Baroque music for orchestra using period instruments. The instruments are owned by the Music Department and loaned to the students. Currently our instrumentarium comprises four Baroque violins, two Baroque violas, one Baroque cello, two Baroque oboes, Baroque bassoon, two Baroque flutes, two Baroque recorders, and harpsichord. Students are generally expected to be proficient on the modern equivalent instrument. Permission of instructor required.

MUSI 367B: Early Music Vocal

A small vocal ensemble that performs music from the Medieval, Renaissance, and Baroque eras with generally two or three singers per part. Permission of instructor required, acceptance based on audition.

MUSI 367C: Renaissance Consort

There are three Renaissance Consorts: Viola da gamba Consort, Cornett and Sackbut Ensemble, and Recorder Consort. Each meets at a day and time based as much as possible on the schedules of the participants. Interested gamba participants should have previous experience on violin, viola, or cello. Cornett and Sackbut participants should have experience on brass instruments: trumpet, horn, or trombone. Recorder Consort need not require previous experience, depending on the current level of other interested participants. Permission of instructor required.

Music 369: African Drumming and Dance

Michelle Kisliuk

2 credits

TR, 5:30 -7:30, OCH 107

This course may be repeated for credit. This is a practical, hands-on course focusing on several music/dance forms from West Africa (Ghana, Togo) and Central Africa (BaAka pygmies and Bagandou farmers), with the intention of performing informally throughout the semester and formally, with guest artists, at the end of the semester.  We will give special attention to developing tight ensemble dynamics, aural musicianship, and a polymetric sensibility.  Concentration, practice, high attention, interaction, and faithful,/prompt attendance are required of each class member.  Each member is also respectfully expected to help prepare the classroom (move chairs, sweep, set up drums/sticks) and to restore the space to classroom style at the end of each meeting.

MUSI 393: Independent Study

TBA

1-3 credits

Prerequisite: Permission of the instructor.

MUSI 409: Gender and Sexuality in Popular Music

Fred Maus

3 credits

M 2:00-4:30, OCH S008

Prerequisite: permission of instructor

Focusing on British and North American popular music from the 1960s on, we will explore feminist and queer perspectives on the creation and circulation of genders and sexualities through popular music. Likely topics include the "women's music" of the 1970s and 80s; the creation of identities through dance music from disco on; masculinities and feminities forged by "stars" such as Bruce Springsteen, Elvis Presley, Tracy Thorn, Alanis Morissette; negotiations of identity and politics in groups such as the B-52's, the Pet Shop Boys, REM; and more. In addition to the thematic focus on gender and sexuality, the seminar will explore two contrasting methods of study: ethnography and musical analysis.

MUSI 419: Music and the Shakespearean Muse

Deborah Heckert

3 credits

TR 12:30-1:45, OCH (Music Library) S008

Prerequisite: status as a declared music major, or instructor permission

For the last 400 years, the plays and poetry of William Shakespeare have provided inspiration for countless composers across time periods and nationalities, producing a group of works that are limitless in their variety, but linked by the issues and themes that are integral to Shakespeare's plays. This seminar will focus on four areas where Shakespeare texts have been particularly influential; the art song, orchestral program music, opera, and film music. Works to be studied include the original song settings for Shakespeare's plays, orchestral works by Mendelssohn and Berlioz, operatic versions of Merry Wives of Windsor by Verdi and Vaughan Williams, and the Shakespearean film scores of William Walton and Patrick Doyle. Important topics include the issue of authenticity versus adaptation, and Shakespeare?s importance to musical romanticism in the 19th century and musical nationalism in the 20th. Students will be evaluated via unit quizzes, short writing assignments, a final examination and a final paper.

MUSI 426: Topics in Ethnomusicology - Music and Religion in the African Diaspora

Melvin Butler

3 credits

TR, 11:00-12:15, OCH Library S008

In this seminar, we will explore the dynamic musicospiritual landscapes of the African diaspora, paying special attention to African Caribbean and African American peoples and expressive cultures in Haiti, Jamaica, and the United States. We will focus on 1) the functions of musical practice within particular African diasporic belief systems, especially the use of music to achieve forms of spiritual transcendence, ecstasy, and "spirit possession"; 2) ritual constructions of sacred/secular musical boundaries; and 2) the ways in which stylistic and conceptual distinctions are drawn between religious and "popular" musics. Students may be allowed to write final papers dealing with other African diasporic music-cultures and religions not directly discussed in class.

MUSI 431: Theory III

Michael Puri

3 credits

TR, 2:00-3:15, OCH 107

Introduction and practice of various methodologies for the analysis of Western classical music from c. 1725-1915, combined with model composition in formal genres characteristic of this period: Baroque chorales and dance forms, Classical themes and variations, and Romantic art song and piano music. Prerequisite: MUSI 332; co-requisite: MUSI 333B or 333C, except for those students who have already placed out of MUSI 333.

MUSI 440: Computer Sound Generation

Judith Shatin

3 credits

W, 2:00-4:30, OCH 113

MUSI 440 combines work with open-source computer music programs and the study of acoustics and composition, and will also touch on the aesthetics of electroacoustic music. You will gain a good deal of hands-on experience, as well as a context in which to situate it through analysis of particular pieces and trends. You will work primarily with RTcmix, an open-source, Unix-based computer music language that provides powerful digital signal processing, synthesis and spatialization techniques. The program runs on both Mac OS X and Linux, and you will have the opportunity to learn how to install it on your own computer. You will also have access to it on the computers in the VCCM. You will have weekly assignments, including listening, reading and composition-based projects.

MUSI 475: Choral Conducting

Michael Slon

3 Credits

TR, 11:00-12:15, OCH B012

Prerequisite: MUSI 332 and instructor permission.

Studies the theory and practice of conducting, score analysis, and rehearsal technique.

MUSI 493: Independent Study

1-3 credits

Prerequisite: Instructor permission.

MUSI 581: Composition

TBA

3 credits

TBA

MUSI 709: Popular Music

Fred Maus

3 credits

M, 2:00-4:30, OCH (Music Library) S008

Topic for fall 2005: Gender and Sexuality in Popular Music. Focusing on British and North American popular music from the 1960s on, we will explore feminist and queer perspectives on the creation and circulation of genders and sexualities through popular music. Likely topics include the "women's music" of the 1970s and 80s; the creation of identities through dance music from disco on; masculinities and feminities forged by "stars" such as Bruce Springsteen, Elvis Presley, Tracy Thorn, Alanis Morissette; negotiations of identity and politics in groups such as the B-52's, the Pet Shop Boys, REM; and more. In addition to the thematic focus on gender and sexuality, the seminar will explore two contrasting methods of study: ethnography and musical analysis.

MUSI 719: Music, Writing, and Religious Culture in Premodern England: Caedmon to Purcell, Wulfstan to Dryden

Bruce Holsinger

3 credits

W, 2:00-4:30, OCH (Music Library) S008

This interdisciplinary seminar--crosslisted in Music and English--will examine the diverse and fascinating relationship between musical and literary production in English religious cultures from the period before the Norman Conquest through the Restoration. Taking a series of six or seven case studies as our focus--the liturgical culture of Anglo-Saxon Winchester during the Benedictine Reform, which produced the so-called "Winchester Tropers"; the emergence of notated vernacular song from the scriptoria of thirteenth-century monasteries; the religious radicalism of the Lollards and its effects on the musical climate of Lancastrian England; the agency of the printing press in the transformation of musical writing before the Reformation; and the curious intimacy between the sacred and secular works of Henry Purcell (including settings of English liturgy and a "semi-opera" titled King Arthur, with a libretto written by the poet John Dryden); and several others--we will explore together the political, institutional, and formal commonalities and distinctions between musical and literary writing across seven centuries of English cultural history. Secondary and theoretical readings will be drawn from the writings of an array of critics and historians, from Theodor Adorno and Emmanuel Levinas to Leo Treitler and Eamon Duffy.
While seminar papers and presentations will understandably reflect the disciplinary affiliation of participants, we will try throughout the semester to speak and think across our specialties: thus, students in music will be expected to work with the formal and generic aspects of the poetry and prose on the syllabus, while students in literature, even if unable to read music, will be expected to complete listening assignments and make an effort to engage the specifically sonorous dimensions of the artifacts we examine together. No knowledge of medieval languages (e.g. Latin and Old English) is required, though those already possessing proficiency in these languages are encouraged to work in the original. Until August any inquiries about the seminar should be directed to bruce.holsinger@colorado.edu

MUSI 725: Concept of Experiment in Performance and in Scholarship

Michelle Kisliuk

3 credits

T, 2:00-4:30, OCH S008

MUSI 740: Computer Sound Generation

Judith Shatin

3 credits

W, 2:00-4:30, OCH 113

MUSI 740 combines work with open-source computer music programs and the study of acoustics and composition, and will also touch on the aesthetics of electroacoustic music. You will gain a good deal of hands-on experience, as well as a context in which to situate it through analysis of particular pieces and trends. You will work primarily with RTcmix, an open-source, Unix-based computer music language that provides powerful digital signal processing, synthesis and spatialization techniques. The program runs on both Mac OS X and Linux, and you will have the opportunity to learn how to install it on your own computer. You will also have access to it on the computers in the VCCM. You will have weekly assignments, including listening, reading and composition-based projects. These will be more extensive than assignments at the 440 level.

MUSI 747: Materials of Contemporary Music

Ted Coffey

Composing Context

In this seminar we will examine works of composers and performance artists by parsing their transmissive networks into domains of space, performance technologies, apparent sponsorship, etc. We will consider how transmissive networks locate cultural products in social space, and how we might creatively reassemble this situation to our own ends. Readings will be drawn from critical theory, cybernetics, semiotics, media and postmodern theory, and arts & culture sociology. Participants will write a short paper, make in-class presentations, and realize in public a composition, installation or performance piece informed by issues raised in the seminar.

MUSI 811: Introduction to Critical and Comparative Studies in Music

Richard Will

3 credits

T, 2:00-4:30, OCH S008

Prerequisite: Instructor Permission Introduction to current issues in music scholarship; training in techniques and methodologies important for the practice of music scholarship today. Intensive reading; weekly writing assignments.

MUSI 881: Composition

Judith Shatin ­ Instructor Permission

Matthew Burtner ­ Instructor Permission

TBA ­ Instructor Permission

3 credits

MUSI 891: Supervised Research

3 credits

MUSI 893: Independent Study

1-3 credits

MUSI 896: Non-topical Research

1-6 credits

MUSI 897: Non-topical Research

3-12 credits

MUSI 991: Supervised Research

3 credits

MUSI 993: Independent Research

3 credits

MUSI 997: Non-topical Research

3-12 credits