Course Atlas Fall 2008

MUS 115: Jazz, Its Evolution and Essence

Andrews, TT, 1:00-2:15 p.m., MAX: 125 (MUS 95 / AAS 30)

Content: The purpose of this course is to introduce the student to the various styles and genres associated with the music commonly referred to as jazz. Critical issues related to the social and cultural history of African-Americans will be discussed and aligned with corresponding musical developments. The main challenge in this course is to become familiar with the important formal and stylistic traditions within jazz as well as with its creators. Although no prior musical knowledge is presumed, students will be responsible for the musical terms and concepts presented in class. Jazz musicians studied include Armstrong, Ellington, Parker, Monk, and Miles Davis. Cross Listed with AAS 115.

Text: Jones, LeRoi: Blues People.

Particulars: In addition to lectures and readings, each student is expected to spend considerable time listening to the repertoire under discussion. Prepared tapes are on reserve in Candler Library. There will be a mid-term, final, and two short quizzes.

MUS 121: Theory and Analysis I, With Lab

Sec 000; Eklund, MWF, 9:35-10:25 a.m., MAX: 15
Sec 001; Eklund, MWF, 10:40-11:30 a.m., MAX: 15
Sec 002: Eklund, MWF, 11:45-12:35 p.m., MAX 15
Sec LA1; Eklund, Tu, 10:00-11:15 a.m., MAX: 23
Sec LA2; Eklund, Tu, 11:30-12:45 p.m., MAX: 22

TPL

Content: This course is an applied technical study of harmony and counterpoint focusing on the written and aural aspects of the common-practice period but including repertory from earlier periods and modern times. The concepts and topics of this course include notation; keys, scales, and modes; rhythm and meter; triads and seventh chords; two-part species counterpoint; and four-part writing with diatonic harmonies including the I, V, V7, II, IV. The course will develop students' musical literacy and creativity through written, analytical, and composition assignments. The lab component provides ear-training, sight-singing, and keyboard drills and exercise to reinforce the topics covered in the lecture.

MUS 190S Freshman Seminar: Drums and Gongs: Asian Music Performance

Lee, Tu, 4:30-7:00 p.m., MAX: 12

Content: In this course, students will learn about Asian music by learning to perform Javanese gamelan and Korean percussion. Using these two traditions as a framework, we will explore other Asian musical traditions to understand the history, structure, and performance practices of music in different Asian cultures.

Texts: There is no required text for this seminar. Articles, book chapters, and sound recordings will be assigned throughout the course and made available in the library.

Particulars: No prerequisites. Certain sections of the course may require knowledge of music analysis, but proper guidance will be provided to ensure adequate understanding.  Please note that although this course is based primarily on performance, students should expect a significant amount of reading, writing, and listening throughout the semester. Assessment for this course is based on tests, written assignments, essays, class presentations, and performance.

MUS 190: Freshman Seminar: Music and the Movies

Stewart, TT, 1:00-2:15 p.m., MAX: 15

Content: Music for film occupies a unique position in the art world as being the only performed music which is not intended to be heard. This course will explore the role of music in the cinema, surveying film music from the Silent Film Era through the present, with an emphasis on feature-length films from Hollywood. Significant time will be spent studying the elements of music and how prominent (and some lesser known) film composers have manipulated musical materials to form artistically effective soundtracks. The course will also examine film music and sound from several other perspectives: technology and history, aesthetics and culture, and economics and business.

Particulars: Music-reading skills are helpful, but not required.

MUS 201 000: Survey of Western Music I (FOR NONMAJORS)

Melissa Cox, MWF, 2:00-2:50 p.m., MAX: 50

Content: Geared for the non-music major, Music 201 follows the same course of study as Music 201 for majors, but does not require musical score reading. Study will include musical examples from the twentieth century, Antiquity, Medieval, and Renaissance periods. Students will explore twentieth-century techniques and genres and compare those developments to the other earlier periods mentioned. Musical examples from the early periods will include Plainsongs, early polyphony, Medieval secular song forms, Renaissance motets, madrigals, and church music.

Text: MUSIC. An Appreciation. By Roger Kamien, Eighth Edition.

Particulars: For non-music majors. Concert attendance is included in the curriculum requirements.

MUS 201 001: Survey of Western Music I (FOR MAJORS)

Bertrand, TT, 11:30-12:45 p.m., MAX: 35

Content: The topics of Survey of Western Music I are the three periods of music history generally thought to be outside the common practice period of music: the twentieth century, the Middle Ages, and the Renaissance. They are presented as a balanced approach that is neither a cultural history of music nor exclusively a history of style, but in a way that considers the external influences on music and the internal changes within the art itself. The goal of such a course is to realize that musicians inevitably operate in particular historical contexts and that those contexts just as inevitably affect their music and musical experience. To achieve this goal the course material will draw upon connections between political and social world events and contemporaneous musical events and developments; stress parallels in music, the other arts, and philosophy; and discuss how musicians through history have reacted to the music of their predecessors, at times building upon and at times challenging the assumptions of their own pasts.

Texts:

Grout, Donald J., A History of Western Music, 6th ed.
Palisca, Claude, Norton Anthology of Western Music, Vols. I and II
Compact discs, Norton Anthology of Western Music, Vols. I and II
Bertrand, Lynn Wood. Course Packet

Particulars: There are six chapter quizzes and three hour-long exams spaced throughout the semester. Three short analytical papers on works outside the anthology are required of music majors. There is no required outside reading other than the texts, but the student is expected to spend considerable time listening to the repertoire under discussion using either purchased compact discs or the music listening lab in the Resource Center of the Heilbrun Music and Media Library. This is the first half of the basic survey sequence in the history and literature of music. MUS 201 and its sequel, MUS 202, are required of music majors. This section for music majors only.

MUS 221 000: Theory and Analysis III

Sec 000, Y. Everett, MW, 11:45-12:35; TT, 1:00-2:15; MAX: 15
Sec 001, Cox, MWF, 9:35-10:25; Tu, 10:00-11:15; MAX: 15
Sec 002, Cox, MWF, 10:40-11:30; Tu, 11:30-12:45; MAX: 15

TPL

Content: This course is a continuation of Theory and Analysis II. It is an applied technical study of harmony and counterpoint focusing on the written and aural aspects of the common-practice period, but including repertory from earlier periods and modern times. The concepts and topics of this course are elements of figuration, simple treatment of dissonance and chromaticism (leading-tone seventh chords, mixture, applied V and VII chords, and diatonic modulation), more advanced dissonance and chromaticism (9th, 11th, and 13th chords, neapolitan sixth chords, augmented sixth chords, and other chromatic chords), fugue, sonata form, rondo form, and more advanced chromatic voice-leading techniques. The course will develop students' musical literacy and creativity through written, analytical, and creative composition assignments. Grades are based on written homework assignments, quizzes, a midterm composition project, and a final analytical project and paper.

Laboratory sessions drill and reinforce concepts covered in the lecture class through sight-singing, ear-training, and keyboard exercises and quizzes.

Texts:

Harmony and Voice Leading, 2nd edition, by Edward Aldwell and Carl Schachter, Textbook and workbook, Volume 2

Anthology for Musical Analysis, 5th edition, by Charles Burkhart

A New Approach to Sight Singing, 5th edition, by Berkowitz, Fontrier and Kraft.
Particulars: Prerequisite: MUS 122

MUS 240 00P: Jazz Improvisation I

Motley, TT, 10:00-11:15 a.m., MAX: 12

Content: The Fundamentals of Jazz Improvisation is an introduction to jazz and the art of improvisation. Topics to be covered will include ear training, scale/mode usage, harmonic progressions and facets of melodic development that are characteristic of the traditional jazz style. Students will have an opportunity to develop their technical skills and ability to improvise on their respective instruments. Music reading skills required.

Required Text: Reeves, Scott D., Creative Jazz Improvisation (2nd Edition).
Optional Material: The Real Book; The Jamey Abersold Play-Along Volumes

Particulars: Permission of instructor required

MUS 250WR:  Writing About Music    

Crist, TT, 4:00-5:15 p.m., MAX: 10

Content: This course provides the opportunity for students to hone their skills as music critics, by listening to and writing short essays about recorded and live performances of many different kinds of music.  Each student will also write a substantial research paper on a musical topic of interest to them, and give an oral presentation on the same subject.

The primary activities of this course will concern the process of writing about music.  Students will try their hand at several modes of discourse, including brief reaction papers, short essays, concert and film reviews, and the research paper.  In class we will discuss and engage in constructive criticism of one another’s work.  We will also glean what we can from reading, discussing, and writing short critical reviews of publications by music critics of the past and present.

The course is open to all students who are interested in its subject matter, both musicians and non-musicians.

Particulars: Class participation, reaction papers, short essays, concert and film reviews, critical reviews, in-class presentation, final paper.

Required Text:
Jonathan D. Bellman, A Short Guide to Writing About Music, 2nd ed.  New York:  Pearson/Longman, 2007.
Materials for the other reading and listening assignments will be available on-line via Reserves Direct.

MUS 270S: Traditional Irish Music

Flannery, Th, 4:00-6:30 p.m., MAX 18

Content: From the Chieftains, Altan, Solas and Enya on to Sinead O'Connor, U2, Riverdance and The Irish Tenors, in recent years there has been a huge interest in Irish music as performed in a wide variety of contexts and forms. This course will focus on the historical roots of that phenomenon, starting with the bards of ancient Ireland and continuing down to modern times. Special emphasis will be placed on the nineteenth century effort, amidst a situation of colonial oppression, to carry over into English the riches of the earlier Gaelic tradition. Attention will also be paid to the uneasy relationship between Irish folk and classical music, the distinctions between Irish and Irish-American music and contemporary efforts to connect traditional Irish music with related folk music of the world. Guest performers in the field will be invited to discuss and demonstrate their work,. Opportunities will exist for student instrumentalists and singers to develop their talents and skills for in-class presentation.

Texts: Articles, book chapters, recordings and films will be assigned throughout the course, many of which will be available in the library.

Particulars: No prerequisites. Grades will be determined on the basis of weekly response papers, a mid-term examination, an oral presentation and a research paper of some 10-12 pages.

PLEASE NOTE CHANGE IN PROCEDURES FOR UNIVERSITY CHORUS.
* A NEW ENSEMBLE IS NOW AVAILABLE!

MUS 300: Ensembles

Content: Group instruction in instrumental and/or vocal music and the performance of selected repertoire. May be repeated for credit. The following ensembles are offered and REQUIRE AN AUDITION and PERMISSION OF INSTRUCTOR prior to enrollment. Auditions will be held at the beginning of fall semester during Freshman Orientation and the first week of classes.

300G: University Chorus, Dr. Eric Nelson, director
M, 7:30-9:30 p.m., MAX: 200

Students should sign up for a voice section placement interview at Schwartz Center, Room 216. This is not a competitive audition; interviews are scheduled for voice placement and chorus assignment only. Interviews will be held at the beginning of fall semester, August 29 - September 4. After students are assigned to a chorus, OPUS will open to allow for enrollment. Click here to view the placement interview schedule.

* 300H: Women's Chorale, Director TBA
M, 7:30-9:30 p.m., MAX: 100

Students should sign up for a voice section placement interview at Schwartz Center, Room 216. This is not a competitive audition; interviews are scheduled for voice placement and chorus assignment only. Interviews will be held at the beginning of fall semester, August 29 - September 4. After students are assigned to a chorus, OPUS will open to allow for enrollment. Click here to view the placement interview schedule.

300J: Emory Symphony Orchestra, Dr. Richard Prior, conductor
Tu, 5:30-7:00 p.m. (full orchestra), MAX: 999, TPL
Th, 7:00-9:00 p.m. (full orchestra), MAX: 999, TPL

Contact the Music Department at 404-727-6445 to schedule an audition date and time.

300K: Emory Wind Ensemble, Dr. Scott Stewart, conductor
MW, 5:00-7:00 p.m., MAX: 200, TPL

Contact the Music Department at 404-727-6445 to schedule an audition date and time.

300L: Early Music Ensemble, Mr. Jody Miller, director
MONDAY, 7:30-10:00 p.m., MAX: 50, TPL

Contact the Music Department at 404-727-6445 to schedule an audition date and time.

300M: Collaborative Piano, Prof. Deborah Thoreson
Tu, 2:30-3:45 p.m., MAX: 50, TPL

Contact the instructor via Learnlink for audition information.

300N: Concert Choir, Dr. Eric Nelson, director
MWF, 4:00-5:00 p.m., MAX: 120, TPL

Students should sign up for an audition at Schwartz Center, Room 216. Auditions will be held at the beginning of Fall semester, August 29-September 4.

300P: Chamber Ensemble, Dr. Richard Prior, director
Days and Times TBA, MAX: 100, TPL

300Q: World Music Ensembles, Dr. Tong Soon Lee, director
Tu, 7:00-9:00 p.m., MAX 15 (Cross-listed with EAS 300Q)

Ensembles may include South Indian classical music, North Indian classical music, Central Javanese gamelan, West Javanese gamelan, Indonesian angklung, and Korean percussion.  No auditions necessary; requirements for prior musical experience may vary for each ensemble. Contact the director via Learnlink for enrollment information.

MUS 310: Applied Music, non-majors

Hopkin, Lee, Luckett, Motley, Prior, Ransom, Stewart, Thoreson
TPL

Content: The study of applied music involves the understanding of music literature through performance. A limited number of students may receive private instruction in instruments and voice for Emory University credit. Admission is by qualification and determined through audition. STUDENTS MUST CONTACT THE MUSIC DEPARTMENT (727-6445) TO ARRANGE AN AUDITION PRIOR TO REGISTRATION. For those students who wish to study privately but do not qualify for university-level instruction, a list of music teachers in the immediate area who are available to Emory students can be obtained from the Music Department office. Every semester, 1 hour instruction weekly, one semester hour credit.

Individual instruction in instrumental or vocal techniques and in the performance of selected compositions. By consent of instructor only. May be repeated for credit. NOTE: Payment of lesson fee is required before the drop/add deadline.

The following performance areas are offered:

310D 00P: Guitar, Location and Time TBA, MAX: 10

310G 00P: Piano, Location and Time TBA, MAX: 20

310H 00P: Voice, Location and Time TBA, MAX: 20

310K 00P: Strings, Location and Time TBA, MAX: 20
(violin, viola, cello, string bass, harp, viola da gamba)

310L 00P: Woodwinds, Location and Time TBA, MAX: 20
(flute, oboe, clarinet, saxophone, bassoon, recorder)

310M 00P: Brass, Location and Time TBA, MAX: 20
(trumpet, trombone, French horn, tuba)

310N 00P: Percussion, Location and Time TBA, MAX: 20

310Q 00P: World Music Performance, Location and Time TBA, MAX: 10
Indian music: Carnatic—veena (string), mridangam (drum); Hindustani—sitar (string), tabla (drum)
Chinese music: erhu (two-stringed fiddle), guzheng (16-stringed zither), dizi (transverse bamboo flute),
yangqin (hammered dulcimer), pipa (4-stringed plucked lute)

310W 00P: Jazz Studies, Location and Time TBA, MAX: 20

Particulars: One-hour private lesson per week for one semester - $800

Accompanist fee (excluding 310G) - TBA

Ensemble/studio classes FREE.

At the beginning of the semester, student should contact the Department of Music office to schedule an audition.

Permission of instructor required

MUS 320: Applied Music, music majors

Hopkin, Luckett, Prior, Ransom, Stewart, Thoreson
TPL

Content: The study of applied music involves the understanding of music literature through performance. Music majors may receive private instruction in instruments and voice for Emory University credit. Admission is by qualification and determined through audition. STUDENTS MUST CONTACT THE MUSIC DEPARTMENT (727-6445) TO ARRANGE AN AUDITION PRIOR TO REGISTRATION. Every semester. One hour instruction weekly, two semester hours credit. Individual instruction instrumental or vocal techniques and in the performance of selected compositions. By consent of instructor only. May be repeated for credit.

Attendance at scheduled "Perspectives on Performance" (POP) class is required. This class meets each Thursday from 2:30-3:45 p.m. The Fall 2008 class schedule will be available after August 30, 2008.

The following performance areas are offered:

320D 00P: Guitar, Th, 2:30-3:45 p.m., MAX: 20
320G 00P: Piano, Th, 2:30-3:45 p.m., MAX: 25
320G 01P: Piano, Th, 2:30-3:45 p.m., MAX: 25
320H 00P: Voice, Th, 2:30-3:45 p.m., MAX: 25
320H 01P: Voice, Th, 2:30-3:45 p.m., MAX: 25
320K 00P: Strings, Th, 2:30-3:45 p.m., MAX: 35
(violin, viola, cello, string bass, harp, viola da gamba)
320L 00P: Woodwinds, Th, 2:30-3:45 p.m., MAX: 35
(flute, oboe, clarinet, saxophone, bassoon, recorder)
320M 00P: Brass, Th, 2:30-3:45 p.m., MAX: 30
(trumpet, trombone, French horn, tuba)
320N 00P: Percussion, Th, 2:30-3:45 p.m., MAX: 30
320Q 00P: World Music Performance, Location and Time TBA, MAX: 10
[Indian music: Carnatic—veena (string), mridangam (drum); Hindustani—sitar (string), tabla (drum)
Chinese music: erhu (two-stringed fiddle), guzheng (16-stringed zither), dizi (transverse bamboo flute), yangqin (hammered dulcimer), pipa (4-stringed plucked lute)]
320W 00P: Jazz Studies, Th, 2:30-3:45 p.m., MAX 35

FEES: Applied instruction on one medium (instrument or voice) is offered free to declared music majors.

Audition required for first semester of study. Student should contact the Department of Music office (727-6445)
to schedule an audition. Permission of instructor required.

MUS 348R 00P: Composition I

Lennon, MWF, 3:00-3:50 p.m., MAX: 6, TPL

Content: Work in the process of original composition including analysis and writing of smaller forms.

Particulars: Permission of instructor required

MUS 366SWR 000: Beyond Orientalism: Hybrid Music and Social Identities

Y. Everett, TT, 10:00-11:15 a.m., MAX: 18, TPL

Content: In this seminar, we will examine the main tenets of Orientalism (Said) and exoticism (Bellman) in exploring the intersection and hybridization of cultural practices in musical, theatrical, and cinematographic genres from the eighteenth century to the present. How did Western nations construct the notion of the "Orient" according to Said? What are the attributes of musical Orientalism vs. exoticism? How have ideologies, politics, and human agencies shaped and transformed cultural representation of art forms that appropriate or reinterpret non-Western musical practices in the course of the twentieth century? We will explore such questions in application to diverse cultural and historical contexts and genres that include: Western operas by Mozart, Puccini, and Verdi, Japanese Kabuki, Noh-drama, Korean Pansori, Beijing opera, as well as popular music (such as rap and hip-hop) and film. In discussing how contemporary musicians construct and negotiate new forms of social identities, we will move beyond the Orientalist paradigm by focusing on issues such as: 1) interculturalism (Kartomi; Everett and Lau); 2) formation and contestation of "otherness" (Born and Hesmondhalgh); and 3) forms of cultural mediation, e.g., "mediated" music, "strategic inauthenticity" (Taylor; Apparudai).

Particulars: Background in music is preferred and some knowledge of musical terms will be required. This seminar is cross-listed under East Asian Studies.

MUS 371SWR 000: East Asian Musical Cultures

Lee, Tu, 2:00-4:30 ap.m., MAX: 10, TPL

Content: What is East Asian music?  What are the historical and contemporary social processes in the region that shape, just as they are influenced by, music?  What is involved in academic research on East Asian music and culture?  Using different musical traditions of East Asia as case studies, this course focuses on two primary aspects of teaching and learning of music: we will explore multiple ways of understanding music and society, and examine different research methodologies in studying East Asian musical cultures.

Texts: There is no required text for this seminar. Articles, book chapters, and sound recordings will be assigned throughout the course and made available in the library.

Particulars: No prerequisites.  This course is open to all students regardless of prior knowledge of any types of music.  Certain sections of the course may require knowledge of music analysis, but proper guidance will be provided to ensure adequate comprehension.  This is an advanced seminar and organized around student-led discussions.  Students should expect a significant amount of weekly reading, writing, and listening assignments, as well as hands-on performance.  In addition to learning new music materials, students should expect an equal emphasis on bibliographic research techniques.  Assessment for this course is based on tests, written assignments, essays, class presentations, and performance. This course is cross-listed as EAS 371.

MUS 390: Half Recital

Thoreson, Day and Time TBA, MAX: 25, TPL

Content:

Particulars: Permission of instructor required.

MUS 440: Diction I

Howell, TT, 10:00-11:00 a.m., MAX: 15

Content: Techniques for diction usage by solo singers, choral singers, and choral directors. Introduction to International Phonetic Alphabet. Use of IPA in English, Latin, and Italian. Study of special needs and considerations of pronunciation in singing.

Particulars: Permission of instructor required.

MUS 441: Diction II

Howell, TT, 4:00-5:00 p.m., MAX: 15

Content: Continuation of MUS 440.

Particulars: Permission of instructor required.

MUS 470: Black Music: Culture, Commerce and the Racial Imagination

Andrews , TT, 11:30-12:45 p.m., MAX: 20

Content: This course explores the relationship between two broadly held concepts--black music and race. Through the activities of reading principal texts, listening to representative musical examples, and engaging in intense discussion, the student will discover the dynamics of our racial imagination. Most important, the course will try to penetrate WHY such formulations as black music exist and the goals it serves. Cross listed with AAS 470.

Required Texts:

Leroi Jones, Blues People
Frank Kofsky, Black Music, White Business
Tommy Lott, ed., The Idea of Race

Particulars: A bibliography project, a final paper and two concert performances are required.

MUS 490R: Full Recital

Thoreson, Day and Time TBA, MAX: 25, TPL

Content:

Particulars: Permission of instructor required.

MUS 495A 00P: Honors

Thoreson, TBA, MAX: 25

Particulars: Permission of instructor required.

MUS 496R 00P: Internship to Music

Thoreson, TBA, MAX: 25, TPL

Particulars: Permission of instructor required.

MUS 497R 00P: Supervised Reading

Thoreson, TBA, MAX: 25

Particulars: Permission of instructor required.

Permission only courses are secured via email from the faculty member. For questions, contact Camille Jackson, 7-1124.

MUSIC SPRING 2009 PRELIMINARY

MUS 101
MUS 113
MUS 115
MUS 114
MUS 122
MUS 122 Lab (3 sections)
MUS 222
MUS 202 (for majors)
MUS 202 (for non-majors)
MUS 300G, J, K, L, M, N, P, T, W, X
MUS 310D, F, G, H, K, L, M, N
MUS 320D, F, G, H, K, L, M, N
MUS 367
MUS 390
MUS 490
MUS 495B
MUS 495B WR
MUS 496R
MUS 497R