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MUSIC 144M: Robert Schumann and the Interpretation of Musical Romanticism (MUSIC 244M)

The creative personality, compositions, and writings of Robert Schumann (1810-1856) as exemplars of musical Romanticism in early nineteenth century European culture. Musical "interpretation" explored through a writing focus and a performance focus. Weekly writing assignments interpret compositions as texts, performances, and cultural documents. Students study and interpret up to three works (solo piano, chamber music, art-songs) by Schumann and/or contemporary figures (Schubert, Mendelssohn, Chopin, Brahms, Clara Schumann) for in-class presentation and final lecture-recital. Prerequisites: Music 42, and Music 22 or equivalent (intermediate music theory), intermediate or higher performance ability in piano, strings, or voice. (WIM at 4-unit level only.)
Terms: Win | Units: 3-4 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Grey, T. (PI)

MUSIC 146M: New Keywords in African Sound (AFRICAAM 146D, AFRICAST 146M, CSRE 146D, MUSIC 246M)

This course identifies and considers new keywords for the study of contemporary African music and sound. Each week we will foster discussion around a keyword and a constellation of case studies. The sonic practices we will encounter range from South African house music to Ghanaian honk horns; from Congolese rumba bands to Tunisian trance singers; from listening to the radio in a Tanzanian homestead to making hip hop music videos on the Kenyan coast. By exploring the unexpected interconnections between contemporary African musical communities, we will discuss new keywords arising in current scholarship, including technologies like the amplifier and the hard drive, spaces like the studio and the city, and analytics like pleasure and hotness. We will also engage with established concepts for the study of postcolonial African cultures, including nationalism, cosmopolitanism, globalization, diaspora, and Pan-Africanism. This is a seminar-based course open to graduate students, upper level undergraduate students, and other students with consent of the instructor. Proficiency in music is not required. WIM at 4 units only.
Last offered: Winter 2019 | UG Reqs: WAY-A-II

MUSIC 146N: Transcultural Perspectives of South-East Asian Music and Arts (FRENCH 260A, MUSIC 246N)

This course will explore the links between aspects of South-East Asian cultures and their influence on modern and contemporary Western art and literature, particularly in France; examples of this influence include Claude Debussy (Gamelan music), Jacques Charpentier (Karnatak music), Auguste Rodin (Khmer art) and Antonin Artaud (Balinese theater). In the course of these interdisciplinary analyses - focalized on music and dance but not limited to it - we will confront key notions in relation to transculturality: orientalism, appropriation, auto-ethnography, nostalgia, exoticism and cosmopolitanism. We will also consider transculturality interior to contemporary creation, through the work of contemporary composers such as Tran Kim Ng¿c, Chinary Ung and Tôn-Thât Tiêt. Viewings of sculptures, marionette theater, ballet, opera and cinema will also play an integral role. To be eligible for WAYS credit, this course must be taken for 3 units and a letter grade; WIM credit in Music at 4 units and a letter grade.
Terms: Spr | Units: 2-4 | UG Reqs: WAY-A-II
Instructors: Kretz, H. (PI)

MUSIC 147J: Studies in Music, Media, and Popular Culture: The Soul Tradition in African American Music (AFRICAAM 19, AMSTUD 147J, CSRE 147J, MUSIC 247J)

The African American tradition of soul music from its origins in blues, gospel, and jazz to its influence on today's r&b, hip hop, and dance music. Style such as rhythm and blues, Motown, Southern soul, funk, Philadelphia soul, disco, Chicago house, Detroit techno, trip hop, and neo-soul. Soul's cultural influence and global reach; its interaction with politics, gender, place, technology, and the economy. Pre-/corequisite (for music majors): MUSIC 22. (WIM at 4 units only.)
Terms: Aut | Units: 3-4 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED

MUSIC 147K: Studies in Music, Media, and Popular Culture: Music and Urban Film (CSRE 147D, MUSIC 247K)

How music and sound work in urban cinema. What happens when music's capacity to transform everyday reality combines with the realism of urban films? Provides an introduction to traditional theories of film music and film sound; considers how new technologies and practices have changed the roles of music in film. Readings discuss film music, realistic cinema, urban musical practices and urban culture. Viewing includes action/adventure, Hindi film, documentary, film noir, hip hop film, the musical, and borderline cases by Jean-Luc Godard, Spike Lee, Wong Kar-Wai and Tsai Ming-Liang. Pre- or corequisite (for music majors): MUSIC 22. (WIM at 4 unit level only.)
Last offered: Autumn 2018 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-ED

MUSIC 150R: Robert Schumann and the Idea of Musical Romanticism

The creative personality and musical compositions of Robert Schumann (1810-1856) as exemplars of the idea of Romanticism in European culture of the early nineteenth century. Survey of major genres (solo piano, Lieder, symphonies, chamber music, choral music) in dialogue with Romantic literary and visual cultures. Students prepare at least one or two works by Schumann or contemporary figures (Mendelssohn, Chopin, Brahms, Clara Schumann) for presentation in lecture-recital format. Prerequisites: Music 22 or equivalent (intermediate music theory), intermediate or higher performance ability in piano, strings, or voice
Last offered: Winter 2018 | UG Reqs: WAY-A-II, WAY-CE

MUSIC 155: Intermedia Workshop (ARTSTUDI 239, MUSIC 255)

Students develop and produce intermedia works. Musical and visual approaches to the conceptualisation and shaping of time-based art. Exploration of sound and image relationship. Study of a wide spectrum of audiovisual practices including experimental animation, video art, dance, performance, non-narrative forms, interactive art and installation art. Focus on works that use music/sound and image as equal partners. Limited enrollment. Prerequisites: consent of instructors, and one of FILMPROD 114, ARTSTUDI 131, 138, 167, 177, 179, or MUSIC 123, or equivalent. May be repeated for credit
Terms: Win | Units: 3-4 | UG Reqs: WAY-A-II, WAY-CE | Repeatable for credit

MUSIC 185: Technologies of Musical Expression

Music is made and experienced through technology created for it. These technologies allow for expression but influence the result. This course will utilize special collections, acoustical tools, music-making apps, live musicians, and media both historical and modern to reflect on the ways people make music expressive. The course is designed around creative projects and hands on experiences with digital and analogue media, player pianos, archival manuscripts, and sound sculptures to stimulate discussion about the role of technology in our musical experiences. Projects can include performances using digital and analogue media, performance art, creating player piano rolls, or performance ethnographies, etc. WAYS credit for 3 units and grade only.
Last offered: Winter 2018 | UG Reqs: WAY-A-II, WAY-CE

MUSIC 186B: American Song in the 20th Century and after (AMSTUD 186B, MUSIC 286B)

Critical and creative exploration of song in the Americas. About twenty-five key examples will guide discussion of the interactions between words, music, performance and culture. Weekly listening, reading and assignments will be organized around central themes: love, sex and romance; war and politics; labor and money; place; identity; society and everyday life. Genres include art song; blues, gospel, jazz and country; pop, soul, rock and hip-hop; bossa nova, nueva canción and salsa; electronic and experimental. Takehome and in-class assignments will include critical and creative writing, and music composition, production and performance; final projects may emphasize any of the above.
Terms: Win | Units: 3-4 | UG Reqs: WAY-A-II, WAY-CE

MUSIC 186E: Sounds of Islam (RELIGST 156X)

This course explores diverse intersections of sound and Islam in religious and secular contexts throughout the world. From studying Islamic philosophies about the art of listening to interrogating Muslim hip hop, we examine how sonic practices simultaneously reflect and shape different Muslim identities globally. Issues of nationalism, war and trauma, class, race and ethnicity, gender and sexualities, colonialism, social in/justice, and migration will remain central to our exploration of spirituality, secularism, piety, and religiosity for the individuals and communities making or listening to sounds of Islam.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II, WAY-ED
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