Fall Courses 2006

MUSI 101: Introduction to Music

Mary Simonson
3.0 credits
MW 3:30-4:20, Maury 209, and discussion section (see COD)

In this course, we will examine “classical” (European or Eurocentric) music in dialogue with American “classical” and “popular” musical traditions. How are these various types of music put together? How do they function in our lives? How do composers, musicians, and listeners usually engage with, talk and think about, and listen to these musics? We will consider how musical choices reflect or create our individual, social, and cultural identities, including attitudes toward gender, ethnicity, race, and social relationships. Coursework will include regular reading and listening assignments, attendance at various musical events throughout the semester, several written responses, and a midterm and final.

MUSI 104: Exploring the Orchestra

Kate Tamarkin
3.0 credits
TR 11:00-11:50, OCH B012, and discussion section (see COD)

The symphony orchestra has been the vehicle for many composers’ greatest inspiration. This course will familiarize the student with several orchestral masterpieces, and develop aural discrimination skills. It will include study of the development and make up of the modern symphony orchestra, as well as an exploration of the different genres and musical forms found in symphonic music. The course will include comparisons of interpretations of selected works.

MUSI 131: Introduction to Musical Skills

Kevin Parks, Kyoko Kobayashi
3.0 credits
Section 1 (Parks): MWF 9:00-9:50, OCH 107
Section 2 (Kobayashi): MWF 10:00-10:50, OCH 107

This course is not open to students already qualified to elect MUSI 231 or 331. No previous knowledge of music is required. 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
3.0 credits
MW 12:00-12:50, Maury 115, 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 212: History of Jazz Music

Scott DeVeaux
4.0 credits
MWF 1:00-1:50, Wilson 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

Aurie Hsu
2.0 credits, instructor permission
MWF 10:00-10:50, OCH 113

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

MUSI 230C: Fretboard Harmony

Mike Rosensky
2.0 credits, instructor permission
MWF 2:00-2:50, OCH B012

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 303: Studies in Nineteenth Century Music

Mary Simonson
3.0 credits
TW 9:30-10:45, OCH 107

This course will focus on the development of a Germanic ideal of serious music across the nineteenth-century, the values behind that ideal, and the effect of that ideal on music-making and music composition in both Europe and the United States. Particular attention will be paid to those types of composition that fell outside of the realm of “serious music,” and the ways in which this ideal affected performance, performers, and notions of creativity. Issues of gender, nationalism, and “high” and “popular” culture will be addressed. Coursework will include regular listening, reading, and written responses, a research project, a midterm and a final exam. Prerequisite: MUSI 331 or instructor permission

MUSI 305: Twentieth Century Music

Scott DeVeaux
3.0 credits
MW 3:30-4:45, OCH B012

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

MUSI 308: Issues in American Music

Melvin Butler

Issues in American Music will examine ethnomusicological perspectives on various popular musical genres in the United States, including minstrelsy, blues, jazz, gospel, rhythm-and-blues, and rock-and-roll. Reading, writing, and listening assignments will deal primarily, but not exclusively, with African American contributions to these musical traditions. Class discussions will center on the historical interplay of black and white musical aesthetics, the politics of race and ethnicity, and the role of music in constructing "Americanness."

MUSI 331: Theory I

Michael Puri, Fred Maus
3.0 credits
Section 1 (Puri): MWF 10:00-10:50, OCH B012
Section 2 (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

Jeff Decker, Steven Kemper, Troy Rogers, Loren Ludwig
1.0 credit
All sections meet 11:00-11:50

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 338: Introduction to Post-Tonal Composition

Ted Coffey
3.0 credits
TR 11:00-12:15, OCH B012

This class focuses on post-tonal compositional techniques in American and European concert music, including the music of various composers and the composition of new music.

MUSI 339: Introduction to Music and Computers

Matthew Burtner
3.0 credits
MW 1:00-1:50, OCH B012, and discussion section (see COD)

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 393: Independent Study

1.0-3.0 credits
Instructor permission and instructor number required to enroll.

MUSI 408: American Music and Entertainment at the Turn of the 20th Century

Mary Simonson
3.0 credits
TR 2:00-3:15, OCH B012

In this course, we will study American musical culture, cinema, and multimedia performance in the United States between 1900 and 1920, with particular attention to the ways in which American performance converged with and diverged from contemporaneous European practices. What kinds of music and entertainment were on American stages at the turn of the century? What were silent and classic films all about, and in what ways was cinema related to American theater, musical life, dance, and other forms of entertainment? Examining music and performance from social, cultural, and historical perspectives, we will explore how American performance trends reflected American politics, economics, and national identity, the distinctions and overlaps between high culture and popular entertainment, and the relationship between creativity, power, gender, and meaning, both in specific pieces and in performances of those pieces. Throughout, narratives of American music history will be discussed and critiqued. Additionally, we'll regularly turn from the past to the present, examining the ways in which performance and entertainment work in our lives today, and thinking about the similarities and differences between entertainment today and a century ago. Course readings will be drawn from the fields of musicology, film theory, performance studies, critical theory, and cultural studies; coursework will include film screenings, listening assignments, reading responses and other short writing assignments, discussion, and a final research project. Prerequisite: MUSI 331 or instructor permission

MUSI426: Caribbean Music, Identity, and Power

Melvin Butler

This seminar will examine the musical and social landscapes of the Caribbean, paying particular attention to the intersections of musical practice, negotiations of identity, and various forms of spiritual and political power. Discussions and reading assignments will center mostly on Haiti and Jamaica, but we will devote considerable time to other Caribbean locales, according to students' backgrounds and interests. A recurring theme will be the role of music in sustaining transnational linkages between the Caribbean and the United States. Highlighting the cultivation of long-distance national identities and the migration of sound and practice to and from the Caribbean region, we will also explore the extent to which the musical practices of Caribbean peoples constitute a form of "resistance" in the face of local and global oppression.

MUSI 431: Theory III

Michael Puri
3.0 credits
MW 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 434: Tonal Counterpoint

Paul Walker
3.0 credits
MWF 9:00-9:50, OCH B012

An in-depth study of the contrapuntal style of J. S. Bach through analysis and written exercises. Prerequisite: MUSI 332 or the equivalent.

MUSI 445: Computer Applications in Music

Matthew Burtner
3.0 credits
T 2:00-4:30, OCH B011

Topics involving the composition, performance, and programming of interactive computer music systems. Prerequisite: MUSI 339 or instructor permission.

MUSI 471: Instrumental Conducting

Kate Tamarkin
3.0 credits
TR 9:30-10:45

Studies the theory and practice of conducting, score analysis, and rehearsal technique. Prerequisite: MUSI 332 and instructor permission.

MUSI 474: Music in Performance

Michelle Kisliuk

3 Credits

1400-1645 W

Prerequisite: Previous musical and/or performance experience, broadly defined. Undergraduate prerequisite: Instructor permission

Designed as a highly interactive undergraduate/graduate seminar, this course addresses how musical performances implicitly or explicitly enact and (re)negotiate their historical, cultural, and ideological circumstances. Readings, class activities, and discussions focus on a range of musical cultures. Student projects will allow for performance/experimentation and/or local field research, along with written work (performative/poetic as well as analytical writing).

MUSI 493: Independent Study

1.0-3.0 credits
Instructor permission and instructor number required to enroll.

MUSI 581: Composition

TBA
3.0 credits
Meeting time and location TBA

Prerequisite: MUSI 431 and instructor permission.

MUSI 581: Composition

TBA
3.0 credits
Meeting time and location TBA

Prerequisite: MUSI 431 and instructor permission.

MUSI 719: Shame, Trauma, Mourning

Fred Maus

3 credits

1400-1630 M, S008 OCH

There is a rich clinical and humanities literature on shame, trauma, loss and related issues, including excellent recent publications. We will explore this literature, with special attention to the relation of these topics to identities (sexual, racial, gendered), in order to consider possible articulations of musical experience. Though the syllabus emphasizes popular music, we will also touch on issues such as good and bad musical taste, classical music performance, and music therapy. For PhD students in music and related fields.

MUSI 745: Computer Applications in Music

Matthew Burtner

3.0 credits

T 2:00-4:30, OCH B011

Topics involving the composition, performance, and programming of interactive computer music systems. Prerequisite: instructor permission.

MUSI 747: The Open Work

Ted Coffey

3.0 credits

R 2:00-4:30, OCH S008

This seminar will explore theories and instances of the open work in music and elsewhere. We will study and perform works by the New York School composers, the post-war European avant-garde, Fluxus, Cardew, Lucier, and those working in new media. Reading will proceed from Eco's "The Poetics of the Open Work" to other semiological (Barthes & Nattiez), systems-theoretical (Bateson, Wilden, Maturana & Varela), phenomenological (Nagarjuna & Merleu-Ponty), and miscellaneous post-structuralist texts (Kristeva, Derrida, Deleuze & Guattari). Writings by makers of open works as well as those works themselves will meanwhile keep our feet relatively on the ground. As the term progresses, participants will increasingly be asked to recommend content and method.

Beyond informal presentations on topics of individual interest, participants will be asked to produce textual, musical and other works that are in some unmistakable way 'open'. It is likely that we will compose open musical and other activities for our own ad hoc ensemble.

MUSI 774: Music in Performance

Michelle Kisliuk

3 Credits

1400-1645 W

Prerequisite: Previous musical and/or performance experience, broadly defined. Undergraduate prerequisite: Instructor permission

Designed as a highly interactive undergraduate/graduate seminar, this course addresses how musical performances implicitly or explicitly enact and (re)negotiate their historical, cultural, and ideological circumstances. Readings, class activities, and discussions focus on a range of musical cultures. Student projects will allow for performance/experimentation and/or local field research, along with written work (performative/poetic as well as analytical writing).

MUSI 811: Introduction to Critical and Comparative Studies

Richard Will

3.0 Credits

T 2:00-4:30, OCH 114B

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. Prerequisite: instructor permission.

MUSI 881: Advanced Composition

Judith Shatin, Ted Coffey, Matthew Burtner

3.0 Credits

Instructor permission and instructor number required to enroll

MUSI 891: Supervised Research

3.0 credits

MUSI 893: Independent Study

1.0-3.0 credits

MUSI 896: Non-topical Research

1.0-6.0 credits

MUSI 897: Non-topical Research

3.0-12.0 credits

MUSI 991: Supervised Research

3.0 credits

MUSI 993: Independent Research

3.0 credits

MUSI 997: Non-topical Research

3.0-12.0 credits

MUSI 999: Non-topical Research

3.0-12.0 credits

MUBD 261: Marching Band I

Bill Pease
2.0 credits
Meeting time and location TBA

An ensemble that performs at all home football games and selected away games each season, also traveling to Bowl games and performing at special events. This course counts as performance, and thus subject to the limit of eight credits of the 120 required for the B.A. Prerequisite: students are selected by audition.

MUBD 262: Marching Band II

Bill Pease
2.0 credits
Meeting time and location TBA

An ensemble that performs at all home football games and selected away games each season, also traveling to Bowl games and performing at special events. Students assist in mentoring new band members enrolled in MUBD 261. Prerequisite: MUBD 261.

MUBD 263: Marching Band III

Bill Pease
2.0 credits
Meeting time and location TBA

An ensemble that performs at all home football games and selected away games each season, also traveling to Bowl games and performing at special events. Students run sectional rehearsals and tutor students enrolled in MUBD 261 and 262. Prerequisite: MUBD 262.

MUBD 264: Marching Band IV

Bill Pease
2.0 credits
Meeting time and location TBA

An ensemble that performs at all home football games and selected away games each season, also traveling to Bowl games and performing at special events. Students assume leadership roles in the Marching Band, and contribute to the design and teaching of shows. Prerequisite: MUBD 263.

MUEN 360: Jazz Ensemble

John D'earth
2.0 credits
TR 3:30-5:30, OCH B018

Led by internationally recognized jazz trumpeter/composer John D'earth, the Jazz Ensemble is a full-sized jazz big band, whose focus includes "head arrangements" group improvisation, world music and original compositions from within the band, along with music ranging from swing to bop to fusion. You'll gain valuable experience in ensemble playing and in the art of solo improvisation, and may take private instruction in jazz improvisation, perform in small combos and participate in jazz workshops held by such major figures as Michael Brecker, John Abercrombi, Dave Leibman, Bob Moses, Clark Terry, and Joe Henderson. Restricted to: Instructor permission by audition.

MUEN 361: Orchestra

Kate Tamarkin
2.0 credits
W 7:30-10:00, OCH 101
Sectional meeting times vary; see Course Offering Directory.

The Charlottesville & University Symphony Orchestra performs twelve outstanding concerts each year. The 2006-2007 Season will include five subscription series concerts featuring the works of Dvorak, Prokofiev, and Ravel. Solo performances by orchestra principal I-Jen Fang on marimba as well as collaborations with sopranos Sharon Christman and Gale Limansky, pianist Ivo Kaltchev, and the talented University Singers will be true highlights of the season. The orchestra will present its second Family Holiday Concert in collaboration with the University Singers and under the direction of conductor Michael Slon. Symphony performances regularly attract a full house of music lovers who come from all over the Central Virginia region to hear these concerts.

The orchestra's membership is a blend of professional music faculty and student musicians. Each section of the orchestra works under a faculty principal who is both section leader and coach. Membership is open by audition to interested players from all schools and departments of the University. For further information please contact the orchestra office at 434-924-6505, or at orchestra@virginia.edu. Restricted to: Instructor permission by audition.

MUEN 362: Wind Ensemble

Bill Pease
2.0 credits
MW 11:30-1:30, OCH 101

The 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 on the Wind Ensemble, please visit our webpage at: www.virginia.edu/music/ensembles/windensemble/. Restricted to: Instructor permission by audition.

MUEN 363: Flute Ensemble

Alan Cox
1.0 credit
T 3:30-5:00, OCH 113

Restricted to: Instructor permission by audition.

MUEN 363: Double Reed Ensemble

Scott Perry
1.0 credit
W 5:30-7:00, OCH 113

Restricted to: Instructor permission by audition.

MUEN 363: Clarinet Ensemble

Nancy Garlick
1.0 credit
Meeting time and location TBA

Restricted to: Instructor permission by audition.

MUEN 363: Woodwind Ensemble

Ibby Roberts
1.0 credit
W 5:30-7:00, location TBA

Restricted to: Instructor permission by audition.

MUEN 363: Horn Ensemble

Dwight Purvis
1.0 credit
M 3:30-5:20, OCH 107

Restricted to: Instructor permission by audition.

MUEN 363: Jazz Improv Workshop

John D'earth
2.0 credits
TR 5:30-7:00, OCH B012

Restricted to: Instructor permission by audition.

MUEN 363: Jazz Chamber Ensembles

Pete Spaar
1.0 credit
TR 5:30-7:30, OCH B018

Restricted to: Instructor permission by audition.

MUEN 363: Brass Quintet

Paul Neebe
1.0 credit
W 5:00-6:30, OCH B012

Restricted to: Instructor permission by audition.

MUEN 363: Trombone Quartet

Haim Avitsur
1.0 credit
Meeting time and location TBA

Restricted to: Instructor permission by audition.

MUEN 363: Klezmer Ensemble

Joel Rubin
1.0 credit
W 5:15-6:45, OCH 107

Klezmer, originally the ritual and celebratory music of the Yiddish-speaking Jews of Eastern Europe, was brought to North America by immigrants around the turn of the last century. Since the 1970s, a dynamic revival of this tradition has been taking place in America and beyond. Klezmer's recent popularity has brought it far from its roots in medieval minstrelsy and Jewish ritual and into the sphere of mainstream culture. The traditional klezmer style presents the experienced instrumentalist with a range of technical challenges with its characteristic note bends, rubati, Baroque-style embellishments and other micro-improvisational techniques, opening up a world of expressive possibilities not available to them from either classical music or jazz. This music was passed on orally from generation to generation, and many of the ornaments which are so integral to the klezmer sound can only be approximated by Western staff notation - not to mention the patterns of improvised variation which are the cornerstone of the style. There will therefore be an emphasis on learning by ear as much as possible.

In this ensemble, we will begin by focusing on the klezmer traditions of New York and Philadelphia between the two world wars, as well as 19th century Eastern Europe. Depending on the makeup of the group, we may explore various genres of Yiddish song (folk song, Yiddish theater, vaudeville), as well as Hasidic nigunim (songs of spiritual elevation).

The following instruments are sought: violin, viola, cello, bass, clarinet, flute, saxophone, trumpet, trombone, tuba, percussion, piano, accordion. Restricted to: Instructor permission by audition. Please contact Dr. Rubin with any questions: jer2y@virginia.edu.

MUEN 364: Chamber Music Performance Seminar

TBA
1.0-2.0 credits
Meeting time and location TBA

Restricted to: Instructor permission by audition.

MUEN 364: String Ensemble

TBA
1.0-2.0 credits
Meeting time and location TBA

Restricted to: Instructor permission by audition.

MUEN 364: Chamber Singers

Michael Slon
1.0 credit
F 1:00-3:15, OCH 107

Chamber Singers is a select subset of the University Singers, and is offered for an additional hour of credit. The ensemble meets once a week and focuses on music ranging from the Renaissance to contemporary pieces. Interested singers will be considered for the chamber ensemble as part of their University Singers audition. Restricted to: Instructor permission by audition.

MUEN 365: University Singers

Michael Slon
2.0 credits
MW 3:30-5:30, OCH 101

The University Singers is the University's premier SATB ensemble, performing a cappella and accompanied choral literature ranging from Medieval chant to the works of contemporary composers. Past repertoire has included Handel's Messiah, Bernstein's Chichester Psalms, the Brahms Requiem, and Mozart's Coronation Mass and Vespers(K. 339). Recent trips have taken the group to New York City, Philadelphia, New Haven, and the National Cathedral in Washington D.C., as well as the campuses of other American universities for collaborative concerts. The group has also been heard on European tours in England, Italy, Belgium, Germany, and Switzerland. Recent highlights have included performances with the Charlottesville & University Symphony Orchestra, a concert and workshop with Bobby McFerrin, and a concert tour of the Northeast.

Students in the University Singers come from all six of UVA's undergraduate schools, including Arts and Sciences, Education, and Engineering, as well as several of the University's graduate and professional schools. Together, they enjoy an esprit de corps that arises from the pursuit of musical excellence and the camaraderie the singers develop offstage.

All singers at the University - undergraduates, graduate students, staff, and facultyare encouraged to audition (Old Cabell Hall August 21-27). University Singers is offered for two hours academic credit. Michael Slon, who has conducted choruses at the Oberlin Conservatory and Indiana University School of Music, is the conductor. For more information on the University Singers, please visit our webpage at: www.virginia.edu/music/usingers/. Restricted to: Instructor permission by audition.

MUEN 367A: Baroque Orchestra

Paul Walker
1.0 credit
R 7:00-9:00, OCH 113

The Early Music Ensemble, conducted by Paul Walker, offers the rare opportunity to learn to play a Renaissance or Baroque instrument and to perform such works as the Concerto for Four Harpsichords and Orchestra by J.S. Bach. The Early Music Ensemble's extensive collection includes early strings (gambas and Baroque strings) woodwinds (recorders, crumhorns, sackbuts and cornettos) and keyboard (harpsichord and chamber organ). No prior experience is necessary, although ability to play a modern counterpart is desirable. Players are particularly encouraged to explore the pre-modern versions of their instruments. Open to undergraduates and graduates. Restricted to: Instructor permission by audition.

MUEN 367B: Early Music Vocal Ensemble

Paul Walker
1.0 credit
R 3:30-5:20, OCH 113

If you'd like to sing madrigals, motets, Gregorian Chant, and other music of the Medieval, Renaissance, and Baroque eras, the Early Music Ensemble is also for you. Learn the music of Hildegard von Bingen, Josquin des Prez, William Byrd, Monteverdi, Purcell and others. Open to undergraduates and graduates. Restricted to: Instructor permission by audition.

MUEN 367C: Renaissance Consorts

Paul Walker
1.0 credit
R 5:30-6:50, OCH 113

The Early Music Ensemble, conducted by Paul Walker, offers the rare opportunity to learn to play a Renaissance or Baroque instrument and to perform such works as the Concerto for Four Harpsichords and Orchestra by J.S. Bach. The Early Music Ensemble's extensive collection includes early strings (gambas and Baroque strings) woodwinds (recorders, crumhorns, sackbuts and cornettos) and keyboard (harpsichord and chamber organ). No prior experience is necessary, although ability to play a modern counterpart is desirable. Players are particularly encouraged to explore the pre-modern versions of their instruments. Open to undergraduates and graduates. Restricted to: Instructor permission by audition.

MUEN 369: African Music and Dance Ensemble

Michelle Kisliuk
2.0 credits
TR 5:15-7:15, OCH 107

A practical, hands-on course focusing on several music/dance forms from West Africa (Ghana, Togo) and Central Africa (BaAka pygmies), with the intention of performing at the end of the semester. Though no previous experience with music or dance is required, we will give special attention to developing tight ensemble dynamics, aural musicianship, and a polymetric sensibility. Concentration, practice, and faithful attendance are required of each class member, the goal being to develop an ongoing U.Va. African Music and Dance Ensemble.