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For non-music majors and Music majors or minors unable to pass the proficiency test for entry to MUSIC 21. The fundamentals of music theory and notation, basic sight reading, sight singing, ear training, keyboard harmony; melodic, rhythmic, and harmonic dictation. Skill oriented, using piano and voice as basic tools to develop listening and reading skills.

This course integrates music production, performance, audiovisual media, and technology as tools for creative expression and immersive intermedia storytelling. Aspiring producers, composers, songwriters, and performers gain hands-on experience in studio composition, music production and sound design, engaging both traditional and novel approaches while examining the relationships between sound, image, and live performance. Through lectures, critical listening and viewing, and a series of mini-projects, participants develop skills in recording, editing, and composing with audio and visual materials. The course emphasizes the use of software tools, including Max and digital audio workstations, to control musical and visual parameters in both fixed and live contexts. Students learn techniques for immersive spatial mixing to support expressive and narrative goals and apply these methods in original compositions and performances. By the end of the course, students produce and present immersive music and intermedia works that integrate sound, image, space, and live performance.

This course is an introduction to music theory geared toward students who have basic literacy skills (i.e. fundamental notation, identifying major and minor scales, keys, etc). Using musical materials from repertoire selected from campus and area concerts, and incorporating the opportunity to attend these concerts, the course will introduce elements of harmony, melody, form, orchestration and arrangement. The course is an appropriate successor to Music 19A. Students who successfully complete Music 19B can go on directly to Music 21.

Is there any musical form more familiar than the love song? Is there any human experience more mysterious than its topic? This seminar uses a broad collection of love songs to investigate the concept of love, and uses the concept of love to investigate a broad collection of love songs. From the Biblical Solomon to medieval troubadours to 19th-century lieder to Taylor Swift, love has remained a perennial focus for composers. But ideas of love---not to mention related things like marriage, family, sex, gender, sexuality, and happiness---have changed radically. How have love songs revealed or resisted or disguised these transformations? What have they taught us about love? What else have they taught us? Can they be trusted? Do they really speak of love, or only of desire? Do they tell us what these experiences are? Or rather what we want them to be? Are they maybe even speaking about entirely other matters? We will attend closely to individual songs, listening for the details that evade more casual notice. We will also attend to large amounts of songs from a distance, looking for the patterns that only emerge from afar. We will enrich our theoretical perspectives by reading and discussing works of history, philosophy, and psychoanalysis. Hopefully, we will revise---potentially radically---our understandings of both music and love, and therefore of ourselves.

Introduces the language and sounds of jazz through listening, analysis, and compositional exercises. Students apply the fundamentals of music theory to the study of jazz. Prerequisite: Music 19, consent of instructor, or satisfactory demonstration of basic musical skills proficiency on qualifying examination on first day of class. This class is closed by design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment.

This is a course about the emergence of a mythological figure in twentieth-century American popular culture: the singer-songwriter. From the storied travels of Woody Guthrie across the Great Plains, to the rebellious genius of Bob Dylan, whose poetic lyrics won him the Nobel Prize in Literature, to the genre-bending feminist icon of our modern age, Taylor Swift, singer-songwriters have been at the heart of American cultural expression for nearly a century. By taking seriously how both individual and national identity are shaped by discourses of race, ethnicity, class, gender, and sexuality, we will explore how political transformations in American social life might help us to understand the careers of Guthrie, Dylan, Swift and many others, as well as vice-versa: how singer-songwriters transformed American social life in the mid to late twentieth century. What remains so alluring about these poet-performers? What can their enduring significance tell us about the development of American popular culture in the twentieth century and today? Note: No musical training is required to take this course.

This course, designed for musicians and non-musicians alike, introduces students to music-making as a tool for mental health and well-being. Partnering with a mental health-focused community organization, the course offers students additional support and insight into creative practices that foster emotional wellness. Through soundwalks, active listening, and mindfulness exercises, students learn to be present and connected to their surroundings, with guidance from the organization enhancing these experiences. Students will develop basic skills in electronic soundscape composition and, alongside our community partner, co-create a final soundscape project to share as a wellness tool. Beginning week 3, the class schedule will include group trips to our partner organization, during which students will collaborate with youth members to co-create new soundscape compositions. By course end, students will gain composition skills to aid wellbeing. This is a Cardinal Course certified by the Haas Center for Public Service.

Music is all around us, but who gets to make it? Here, we all do. In this hands-on course, we will make music in a variety of imaginative ways, together in class and with the broader community. Through engagement with readings, recordings, composition projects, and improvisation exercises, we will work to liberate our own expressions and develop creative practices that empower others to do the same. In partnership with a local community arts organization, we will welcome and facilitate community involvement in our group musical performances. Throughout, we will journal and reflect on our changing relationships with musical creativity.

Approaches to improvisation and composed jazz lines through listening, transcribing, analysis, and compositional exercises. Topics include: chord/scale theory, melodic minor harmony, altered chords, and substitute harmony. Prerequisite: 20A or consent of instructor.