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191 - 200 of 358 results for: all courses

MUSIC 20B: Advanced Jazz Theory

Approaches to improvisation through listening and transcribing, and developing familiarity with important contributors to this music. Topics: scale theory, altered dominants, and substitute harmony. Prerequisite: 20A or consent of instructor.
Terms: not given this year | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit

MUSIC 20C: Jazz Arranging and Composition

Jazz arranging and composition for small ensembles. Foundation for writing for big band. Prerequisite: 20A or consent of instructor.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit
Instructors: Nadel, J. (PI)

MUSIC 21: Elements of Music I

Preference to majors. Introduction to tonal theory. Practice and analysis. Diatonic harmony focusing on melodic and harmonic organization, functional relationships, voice-leading, and tonal structures. Students must concurrently enroll in an Ear-training and musicianship lab ( MUSIC 24a, 24b, or 24c as appropriate). Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year. Enrollment limited to 40. Prerequisites: (1) Piano Proficiency Exam (must be passed within the first two weeks of the term) or MUSIC 12A (may be taken concurrently); (2) Passing grade on a basic musical skills proficiency examination on the first day of class or MUSIC 19.
Terms: Aut, Win | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit

MUSIC 22: Elements of Music II

Preference to majors. Introduction to chromatic harmony focusing on secondary functions, modulations, harmonic sequences, mode mixture, and the Neapolitan, and augmented sixth chords. Analysis of musical forms and harmonizations complemented by harmonic and melodic dictation, sight singing, and other practical skills. Students must concurrently enroll in an Ear-training and musicianship lab ( MUSIC 24a, 24b, or 24c as appropriate). Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year. Prerequisites: (1) MUSIC 21; (2) Piano Proficiency Exam or MUSIC 12B (may be taken concurrently).
Terms: Win, Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit

MUSIC 23: Elements of Music III

Preference to majors. Continuation of chromatic harmony and complex forms of late Romantic period. Students must concurrently enroll in an Ear-training and musicianship lab ( MUSIC 24a, 24b, or 24c as appropriate). Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year. Prerequisites: (1) MUSIC 22; (2) Piano Proficiency Exam or MUSIC 12C (may be taken concurrently).
Terms: Aut, Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit

MUSIC 26N: Japanese Arts: a Creative Exploration

The striking originality of Japanese contemporary culture seems to defy unifying pressures of globalization. What are the sources of this originality? Can it be traced to the unique and sophisticated art forms like rock gardens, haiku, tea ceremony, martial arts, ikebana and Noh Theater or to the illusive aesthetic notions of wabi, sabi, yûgen, ma or jo-ha-kyû? Exploration of Japanese arts through comparative examination and direct engagement. Creative projects and workshops in traditional Japanese arts.
Terms: not given this year | Units: 4 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter (ABCD/NP)

MUSIC 32N: Sculpting with Sounds, Images, and Words

Throughout history and from East to West, cultures abound in multimedia forms. Whether in Coldplay's Music Video or Fantasia, Pepsi TV adds or Wagner's opera, Miyazaki anime or traditional Noh Theater of Japan, the three modes of expression (sounds, images, and word) are interwoven in distinctive ways. What are their individual and combined powers? How can one harness them in an online context? Can Web be a stage for multimedia theater? What is unique about the poetry of intermodal metaphor? The course will be an opportunity to face these questions in creative web-based projects as well as through in-class viewing of multimedia works, analysis and debates, readings, and student presentations. The seminar will be taught at the Center for Computer Research in Music and Acoustics where students will have access to new media technologies. Prior experience in music, literature, art practice or computer programming is welcome but not required.
Terms: Aut | Units: 3 | UG Reqs: GER:DB-Hum, WAY-CE | Grading: Letter or Credit/No Credit

MUSIC 34N: Performing America: The Broadway Musical

Musical theater as a site for the construction of American identity in the twentieth century to the present. Issues of class, race, gender, and sexuality; intersections with jazz, rock, and pop; roles of lyricist, composer, director, choreographer, producer, performers. Individual shows (Showboat, Oklahoma, South Pacific, Guys and Dolls, West Side Story, Wicked, Bloody Bloody Andrew Jackson, Book of Mormon), show tunes in jazz performance, film musicals, and television. Opportunities for performance and attendance at local productions.
Terms: Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE | Grading: Letter (ABCD/NP)
Instructors: Grey, T. (PI)

MUSIC 36N: Humor in Music

Through theoretical readings the course will touch on psychological and neurological bases of humor, explore contingent, tactical, modal, and ontological difficulties in the apprehension of humor, and address ethical issues surrounding humor in music. In addition to in-class listening and screening sessions, analytic discussions will be led by students who will find and present examples of humor in music. Students will also be invited to compose original humorous song lyrics and to create collaborative works of musical humor.
Terms: not given this year | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit

MUSIC 37N: Ki ho'alu: The New Renaissance of a Hawaiian Musical Tradition

Preference to freshman. Developed in the Hawaiian Islands during the 1830s, ki ho'alu, or Hawaiian slack key guitar, is an art form experiencing newfound popularity coinciding with the growth of political activism in Hawaiian culture. The musical, cultural, historical, and political perspectives of Hawaiian music and ki ho'alu, through hands-on experience, readings, discussion, and workshops. Hawaiian music and history and relationships among performance, cultural expression, community, and identity.
Terms: not given this year | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit
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