Spring 2018 Courses

Spring 2018 Academic Courses

MUSI 1010 Introduction to Music

Bonnie Gordon
3.0 credits
Lecture: TR / 11:00-11:50 pm / TBA
Class Number: 13394

Discussion Sections:

Section 101 (Aldona Dye): F / 9:00-9:50 am / OCH S008
Class Number: 13395

Section 102 (Aldona Dye): F / 10:00-10:50 am / OCH S008
Class Number: 14991

Section 103 (Aldona Dye): F / 11:00-11:50 am / OCH S008
Class Number: 14992

Sound / Music / Noise

What is the difference between music and sound? What did it feel like to listen to music in a world before car alarms and amplified sound? What were the technological equivalents of headphones and Spotify in previous centuries? When you hear Opera does it make you cringe or swoon? What does your favorite playlist reveal about your identity, your history?   How can you listen more carefully and intentionally to your world? This class is designed to guide you towards answering these questions for yourselves. This class explores primarily Western music in various historical contexts. The class is rooted in the classical music canon.  But it also explores the cultural biases implied by the very notion of a canon.  We will learn new ways to hear a selection of pieces from the musical canon; listening to composition, improvisation, text-music relations, the representation of dramatic stories, the expression of religious ideas, and performance. We will also read what writers of the time said about music. We will get to know some pieces of music extremely well; the aural experience of reading a book until it’s binding has frayed.

MUSI 1310 Basic Musical Skills

3.0 credits

Lecture / Section 1 (Alex Christie): MWF / 9:00-9:50 am / OCH 107
Class Number: 11209

Lecture / Section 2 (Kevin Davis): MWF / 10:00-10:50 am / OCH 107
Class Number: 11210

Lecture / Section 3 (Heather Mease): MWF / 11:00-11:50 am / OCH 107
Class Number: 11208

Study of the rudiments of music and training in the ability to read music.  Prerequisite: No previous knowledge of music required.

MUSI 1620 History of the Wind Band

William Pease
2.0 credits
Lecture: TR / 11:00 am - 12:30 pm / Hunter Smith Band Building
Class Number: 14993

The class is designed to give an introductory look at wind band music development from the early 20th century to present. The class does not require any previous musical experience.  The course provides students with historical facts surrounding the wind band movement while allowing students to experience the music aurally.

MUSI 1993 Independent Study

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

MUSI 2010 Music, Meaning and the Arts

Michael Puri
3.0 credits
Lecture: MW / 2:00-3:15 pm / Maury Hall 104
Class Number: 19217

What does music signify, and how does it convey meaning? What cultural significance has it assumed in the West, and how has this changed over time? How does its collaboration with other arts inflect both its significance and its ability to signify?

This lecture course seeks to answer these questions in an inquiry that focuses on Western art music from about 1800 to the present. We will examine revolutionary works by artists such as Beethoven, Wagner, and Stravinsky, alongside equally groundbreaking texts by authors such as Nietzsche, Baudelaire, and Schoenberg. By the end of this course, you should be able to speak and write about music and its role in multimedia works with greater knowledge, fluency, and imagination. Further, you should know much more about the history of Western art and art music through a direct encounter with primary sources, both verbal and sonic. No prior musical experience is required or expected.

MUSI 2070 Popular Musics

Noel Lobley
3.0 credits
Lecture: MW / 12:00-12:50 pm / Maury 209
Class Number: 13637

Discussion Sections:

Section 101 (Samuel Golter): T / 9:30-10:20 am / OCH S008
Class Number: 13638

Section 102 (Samuel Golter): T / 11:00-11:50 am / OCH S008
Class Number: 13639

Section 103 (Samuel Golter): T / 12:30-1:20 pm / OCH S008
Class Number: 13640

Section 104 (Stephanie Gunst): R / 9:30-10:20 am / OCH S008
Class Number: 13641

Section 105 (Stephanie Gunst): R / 11:00-11:50 am / OCH S008
Class Number: 13642

Section 106 (Stephanie Gunst): R / 12:30-1:20 pm / OCH S008
Class Number: 13643

Section 107 (Emily Mellen): T / 3:00-3:50 pm / OCH S008
Class Number: 14131

Section 108 (Emily Mellen): T / 2:00-2:50 pm / OCH S008
Class Number: 14132

Section 109 (Emily Mellen): T / 4:00-4:50 pm / OCH S008
Class Number: 14133

Section 110 (Hannah Young): R / 9:30-10:20 am / OCH B012
Class Number: 14190

Section 111 (Hannah Young): W / 9:00-9:50 am / OCH S008
Class Number: 14191

Section 112 (Hannah Young): R / 12:30-1:20 pm / OCH 107
Class Number: 14192

Scholarly and critical study of music circulated through mass media. Specific topic for the semester (e.g. world popular music, bluegrass, country music, hip-hop, Elvis Presley) announced in advance. No previous knowledge of music required.

Love, fame and money; heartbreak, obscurity and the rise and fall of immense industries. Popular musics touch, move, drive and become almost everyone on the planet, and yet how do we study the songs and sounds we hear everywhere and everyday. What makes music popular? Why do we like music? What identities, values and messages do we share through popular music?

In this course we will connect a dizzying range of popular music genres –from rock to reggae, from global hip hop to country, from EDM to love ballads – tracing fascinating stories that inevitably link love and temptation, money and crime, dreams and death.

Our special topics will include a close look at global hip hop, global rock, and the rise and fall of the recording industries.

MUSI 2120 History of Jazz

Scott DeVeaux
3.0 credits
Lecture: MW / 1:00-1:50 pm / Maury Hall 209
Class Number: 19218

Discussion Sections:

Section 101 (Justin Mueller): M / 9:00-9:50 am / OCH S008
Class Number: 19219

Section 102 (Justin Mueller): M / 10:00-10:50 am / OCH S008
Class Number: 19220

Section 103 (Justin Mueller): M / 11:00-11:50 am / OCH S008
Class Number: 19221

Section 104 (Timothy Booth): M / 12:00-12:50 pm / OCH S008
Class Number: 19222

Section 105 (Timothy Booth): W / 12:00-12:50 pm / OCH B012
Class Number: 19223

Section 108 (Timothy Booth): F / 12:00-12:50 pm / OCH S008
Class Number: 19226

Section 110 (Rami Stucky): W / 9:00-9:50 am / OCH S008
Class Number: 19228

Section 111 (Rami Stucky): W / 10:00-10:50 am / OCH S008
Class Number: 19229

Section 112 (Rami Stucky): W / 11:00-11:50 am / OCH S008
Class Number: 19230

What is the soundscape of our quotidian (everyday) experience? How does it condition our consciousness, and what implicit cultural messages circulate within our ever-changing daily soundtracks? This course focuses our attention not on music highlighted in performance, but on that which we usually take for granted. A close look at how music works in our everyday lives can offer a new awareness of our ongoing experience, open us to choices we never thought we had, and get us wondering about the depths of aesthetic experience.

MUSI 2302 Keyboard Skills (Beginning)

2.0 credits, instructor permission

Lecture / Section 1 (Caitlin Flay): TR / 11:00 am - 12:15 pm / OCH 113
Class Number: 11711

Lecture / Section 2 (Caitlin Flay): TR / 9:30-10:45 am / OCH 113
Class Number: 13265

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


MUSI 2304 Keyboard Skills (Intermediate)

John Mayhood
2.0 credits, instructor permission
Lecture: TR / 12:30-1:45 pm / OCH 113
Class Number:  11712

Intermediate keyboard skills for students with some previous musical experience. Satisfies the performance requirement for music majors. Restricted to: Instructor permission by audition.


MUSI 2306 Fretboard Harmony

Mike Rosensky
2.0 credits, Instructor Permission
Lecture: MWF / 1:00-1:50 / OCH B012
Class Number: 11713

The level of this course will vary, anywhere from beginning to advanced, each semester depending on the guitar experience of students who enroll. Students should contact Mike Rosensky (mlr5q@virginia.edu) 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.


MUSI 2340 Learn to Groove

Robert Jospe
2.0 credits
LectureMW / 10:00-10:50 am / OCH B018
Class Number: 13023

"Learn to Groove" hand drumming and rhythmic fluency with Robert Jospe. This is a hands on drumming/percussion class using congas, djembes, claves, shakers, etc. This class is designed to enhance ones knowledge of syncopated patterns associated with jazz, rock, African and Latin American music and to improve ones facility in playing these patterns. This course will follow my book "Learn To Groove" and can include music students, non music students and is open to students of all skill levels. The course requires that students have or purchase a hand drum of their own. Congas, bongos, djembes, doumbeks or any other hand drums are appropriate.


MUSI 2342 Learn to Groove Intermediate

Robert Jospe
2.0 credits
LectureMW / 11:00-11:50 am / OCH B018
Class Number: 13912

"Learn to Groove" hand drumming and rhythmic fluency with Robert Jospe. This is the intermediate level of the class. It is a hands on drumming/percussion class using congas, djembes, claves, shakers, etc. This class is designed to enhance ones knowledge of syncopated patterns associated with jazz, rock, African and Latin American music and to improve ones facility in playing these patterns.

MUSI 2400 Composer/Performer Collaborative Workshop

Shawn Earle
2.0 credits
Lecture: TBA
Class Number: 21352

This course is for performers and composers interested in creating new music. Students enrolled in the class will collaborate with one another and will build new pieces together. The class will also intersect with the New Music Ensemble and the Percussion Ensemble, directed by I-Jen Fang. Topics will focus on how composers and performers collaborate together to build new musical repertoire. 

Students in the class may also benefit from the CCT Composition Mentoring Program. For information on joining the mentoring program which pairs CCT grad students and undergrads, please contact Eli Stine. 

Music Majors wishing to apply this class for the Music Major should plan to additionally enroll in a 1-credit independent study with professor Burtner. The combination of the independent study and the Lab will count together as one 3000-level elective requirement towards the Major.

MUSI 2600 Jazz Improvisation

John D'earth
3.0 credits
Lecture: TR / 3:30-5:00 pm / OCH B012
Class Number: 12365

The Jazz Improvisation Workshop explores the basic techniques and procedures for improvising in jazz and other musical contexts. No previous jazz or improvising experience is required but students must demonstrate a degree of fluency on their main instrument, an ability to read music and some familiarity with the basics of music theory. An individual interview/audition with the instructor is required before registering for this class.

MUSI 2700 Music and Politics

Nomi Dave
3.0 credits
Lecture: TR / 9:30-10:45 am / OCH 107
Class Number: 19231

Why do elections need election songs, militaries need marches, and activists need anthems? In this introductory course, we will explore the relationship of music and politics, from state-sponsored propaganda to explicit critique. Our aim is to understand the various ways in which music can be political, and politics can be shaped by music. We will consider examples from the US and around the world, including protest songs to and from South Africa, the marketing of Korean girl bands, and musical exchanges between West Africa and the United States. We will also discuss a number of key musical concepts across the course of the semester. No prior musical experience is necessary.

MUSI 2993: Independent Study

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

MUSI 3020 Studies in 17th- & 18th-Century Music

Richard Will
3.0 credits
Lecture: TR / 11:00 am - 12:15 pm / OCH B012
Class Number: 14997

This class imparts essential tools for understanding music from the years 1680-1800.  We will study numerous musical examples, ranging from symphony and opera to folk song and free improv for keyboard, by composers including but not limited to Handel, Haydn, Vivaldi, De la Guerre, Mozart, Gluck, and J.S. Bach (and his kids).   We will examine composition, improvisation, text-setting, dramatic staging, the religious expression, and performance, and we will also read what writers of the time said about music.  The goal is to help you form your own opinions and interpretations of 18th-century music—not just the examples on the syllabus, but the many others you may encounter as a performer, composer, or listener.

MUSI 3040 Studies in 20th-Century Music

Joel Rubin
3.0 credits
Lecture: TR / 11:00 am - 12:15 pm / OCH 107
Class Number: 19233

Want to learn why people were beating each other up in the aisles at the premiere of Stravinsky’s Rite of Spring? Why Schoenberg’s music is still avant-garde over a century after it’s creation? How the Jazz Age influenced classical music and vice versa? How folk and world musical traditions influenced classical music? What happened to the music under totalitarian regimes? How art movements like Dadaism and Minimalism influenced the direction of music? Why Boulez declared Schoenberg to be dead, and why he and his colleagues were later termed “fascists”? How did post-war music and electronic influence the Beatles and other pop musicians, and how did pop music and jazz feed into the development of minimalism? What is the place of women, and African-American and other minority composers in contemporary music? How did improvisation and Zen Buddhism influence John Cage and other post-war composers? Is John Zorn’s music classical, jazz or something else? And how on earth did Cage land a spot on “I’ve Got a Secret” or the US Navy band end up performing arrangements of Zorn? We cover that and more!

MUSI 3040, Studies in Twentieth and Twenty-first Century Music, offers insight into understanding the complex developments in Western art music from the turn of the 20th century to the present. We will study numerous compositional movements, composers and their works, looking at aspects such as compositional and performance style and techniques within the broader framework of social, cultural and political movements of the time. We will also read what the composers themselves and other writers from the time said about the music. The goal is to help you form your own opinions and interpretations of the music—not only of the examples that we study in class, but of the many others that you may encounter both during and after this class as performers, composers and/or listeners. While the course materials focus primarily on the Euro-American situation, we will also examine developments more globally, drawing on developments in popular, jazz, folk and world musical traditions.

Fulfills part of the 'Critical and comparative studies in music' requirement for majors. Prerequisite: MUSI 3310

3050 Music and Discourse

3.0 credits

Lecture / Section 1 (Karl Miller): MWF / 10:00-10:50 am / OCH B012
Class Number: 11211

Lecture / Section 2 (Fred Maus): MWF / 1:00-1:50 pm / OCH 113
Class Number: 13644

Studies the range of music that has flourished since the end  of the 19th century including modernist and post-modern art music, popular music, and world music, through historical, critical, and ethnographic approaches. Prerequisite: The ability to read music, or any three-credit course in music, or instructor permission.

3120 Jazz Studies

Scott DeVeaux
3.0 credits
Lecture: MWF / 11:00-11:50 am / OCH B012
Class Number: 19234

 

MUSI 3310 Theory I

Chris Luna
3.0 credits
Lecture: MWF / 10:00-10:50 am / OCH 113
Class Number: 13921

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.

MUSI 3320 Theory II

Fred Maus
3.0 credits
Lecture: MWF / 11:00-11:50 am / OCH 113
Class Number: 14998

Studies pitch and formal organization in European concert music of the 18th and 19th centuries. Includes four-part vocal writing, 18th-century style keyboard accompaniment, key relations, and form. Students compose numerous short passages of music and study significan compositions by period composers.

Prerequisite: MUSI 3310 or instructor permission.

MUSI 3332 and 3334 Musicianship I and II

2.0 credit

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 3332 Musicianship I

Adam Carter
Lecture: MWF / 12:00-12:50 pm / OCH 107
Class Number: 11213

MUSI 3334 Musicianship II

Rebecca Brown
Lecture: MWF / 12:00-12:50 pm / OCH 113
Class Number: 11214

MUSI 3370 Songwriting

Judith Shatin
3.0 credits
Lecture: MW / 2:00-3:15 pm / OCH 107
Class Number: 19235

Discussion Sections:

Section 101 (Aaron Stepp): T / 11:00-11:50 am / OCH B011
Class Number: 19236

Section 102 (Aaron Stepp): T / 12:00-12:50 pm / OCH B011
Class Number: 19237

Section 103 (Aaron Stepp): T / 1:00-1:50 pm / OCH B011
Class Number: 19238

 

3390 Introduction to Music and Computers

Leah Reid
3.0 credits
Lecture: TR / 12:30-1:45 pm / OCH B012
Class Number: 20554

Discussion Sections:

Section 101 (Ben Robertson): TBA
Class Number: 21373

Section 102 (Ben Robertson): TBA
Class Number: 21374

Section 103 (Ben Robertson): TBA
Class Number: 21375

Introduction to Music and Computers in an upper-level introductory course in music technology. Students gain theoretical, historical and practical knowledge of electronic and computer music. An emphasis is placed on creative hands-on experience composing computer music. Theoretical topics include acoustics, recording, digital audio, MIDI, sound synthesis, and audio DSP. Students learn skills in sound-file editing, multitrack sound mixing, sound synthesis, and sound processing. This is a composition class and key assignments are creative in nature.

3559 New Course in Music
Topic: Composing Mixtapes

A.D. Carson
3.0 credits
Lecture: MW / 3:30-4:45 pm / OCH 107
Class Number: 19239

Lab: M / 2:00-3:00 / New Cabell 398
Course Number: 21750

This course focuses on the craft of writing rap songs as well as the collection, selection, and integration of other media to collaborate toward the composition of a class mixtape. Experience writing raps or producing beats will be helpful, but it is not necessary that students have previous experience to take this course. Students will listen to, attempt to deconstruct, create, and evaluate a broad range of music and literature while collaborating on the mixtape. Along with composing the mixtape, students will learn songwriting techniques and some alternate theoretical approaches to composing other hip-hop works.

MUSI 3993 Independent Study

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

MUSI 4520 Critical Studies of Music
Topic: Sound/Body/Gender

Bonnie Gordon
3.0 credits
Lecture: TR / 3:30-4:45 / OCH 113
Class Number: 13645

Can you hear gender? How do bodies experience sound? Why do so many operas stage rape, and how do they resonate with current political discussions? How does Beyoncé use sound to feminist ends in Lemonade? Through readings, class presentations, discussions, blog posts, and analytical papers, you will develop your own understanding of key methods and terms used by music scholars and critics, gender theorists, and activists. These tools will help you hear musical traditions and soundscapes that interest you. Class discussions will push all of us to challenge our assumptions about music, sound, gender, sex, and sexuality. I want you to leave the class thinking clearly about how best to speak and write about the relationships among gender, sexuality, and music. You will develop a range of writing techniques that will carry past your college experience. There are no prerequisites for this class, and non-musicians are welcome. Class assignments will vary and will invite you to read about, write about, listen to, and explore your sound world.

MUSI 4523 Issues in Ethnomusicology
Topic: What Good is Music?

Nomi Dave
3.0 credits
Lecture: TR / 2:00-3:15 / OCH 107
Class Number: 19240

Human beings expect a lot of music. In our daily lives, we often speak about the ‘power of music’ – music’s ability to uplift, heal, transform, and improve. Bono says that music can change the world, while Longfellow describes it as a universal language. The conductor José Antonio Abreu even argues that music can end poverty. Such imaginaries not only hold that music is good, but that it does good out in the world, by transcending politics and divisions and making people more empathetic and virtuous, more intelligent. But, what are the ideologies and assumptions behind these views? Why does music evoke such strong claims – and why are these claims made about some genres more than others? In this course, we will explore the ways in which music is often imagined in relation to self-transformation and social change. We will examine a number of projects that use music to affect political and social change, and will consider where they work and where they don’t. In doing so, we will listen and think about the limits and possibilities of musical activism.

MUSI 4547 Materials of Contemporary Music: Undergraduate Seminar on Timbre

Leah Reid
3.0 credits
Lecture: TR / 9:30-10:45 am / OCH B011
Class Number: 20558

Materials of Contemporary Music: Undergraduate Seminar on Timbre, is a composer oriented course which focuses on the analysis and application of techniques primarily concerned with timbre or tone color. We will examine music of the last century and observe how composers and researchers have approached timbre. An emphasis is placed on creative hands-on experience. Students will learn skills in analyzing, orchestrating, resynthesizing, and composing with timbre. Timbre will be used as a catalyst to explore pitch, time, space, perception, and color. Assignments will be creative in nature and will apply concepts explored in the course.

4559 New Course in Music
Topic: The Black Voice

A.D. Carson
3.0 credits
Lecture: MW / 6:00-7:15 pm / TBA
Class Number: 19241

This course focuses on critical analyses of and questions concerning “The Black Voice” as it pertains to hip-hop culture, particularly rap and related popular musics. Students will read, analyze, discuss a wide range of thinkers [artists included] to explore many conceptions and definitions of “Blackness” while examining popular artists and the statements they make in [and about] their art.

4559 New Course in Music
Topic: Orchestration II

Ben Rous
3.0 credits
Lecture: MW / 2:00-3:15 pm / OCH 113
Class Number: 20559

This course examines the evolution of orchestral music through the lens of tone color and its increasing primacy in musical aesthetics.  We will study the evolving styles of orchestration, from the Classical era through present-day Spectralism.  In the process we will familiarize ourselves with a series of orchestral masterworks spanning these eras.  Styles will be studied through emulation: students will create short orchestrations in the style of composers such as Beethoven, Brahms, Ravel, and Saariaho.  Close students will be able to select orchestral works, and composers, they are interested in studying in detail.  Students may be asked to bring instruments to class for demonstration purposes.

Prerequisite:  Orchestration I, or instructor permission. It is expected that students will have some composition or arranging experience, or some knowledge of orchestral repertoire.

Prerequisite: Orchestration I or instructor permission.

4559 New Course in Music
Topic: ReSounding the Archives: Musical Responses to U.S. Conflicts

Elizabeth Ozment
3.0 credits
Lecture: TBA
Class Number: 21360

What lessons do music archives hold about community mobilization and the prevention or provocation of revolution? Does art condition our perceptions of ourselves and our neighbors? Can music desensitize us to violence? In this course we will read about nationalist and ethnic ruptures that are both historical and painfully present in U.S. society. We will discuss multimedia responses to political conflicts, and other creative ways in which Americans wrestle with conveying the meaning of war. There will be opportunities for us to collaborate with undergraduate students from other Virginia universities, and with researchers from outside museums and libraries. We will research sheet music from the Albert and Shirley Small Special Collections Library, and design a multimedia museum exhibit based on our research findings. In doing so, we will invigorate our university’s archives, and engage in a multi-sensory study of the past.

4582 Composition II

Leah Reid
3.0 credits
Lecture: TBA
Class Number: 20560

Composition 2 is an advanced undergraduate music composition course. Students will receive a combination of weekly individual lessons intermixed with monthly group sessions. The course will provide a forum for students to listen, discuss, workshop, develop, and explore inspirations, compositions, and ideas. Over the course of the semester, students are expected to compose a large-scale work or a series of smaller works for the instrumentation and in the style of their choosing (including electronics).

Note: individual lesson times may be scheduled outside the listed course times. Lesson times will be scheduled the first day of class. 

Prerequisite: MUSI 3380, 3390, or permission from the instructor. Students are expected to have some prior composition experience and must be proficient with standard music notation. The course can be repeated for credit.

4610 Sound Synthesis and Control: Designing New Musical Instruments

Luke Dahl
3.0 credits
Lecture: MW / 2:00-3:15 / TBA
Class Number: 19242

New Interfaces for Musical Expression (NIME) is a field that explores new ways of performing music with technology. NIME is interdisciplinary, incorporating perspectives from music, sculpture, engineering, human-computer interaction (HCI), and design. In this class we will learn the basic skills needed to design and build new musical instruments. We will implement real-time digital sound synthesis algorithms using the PureData visual programming language, which will run on the Bela embedded audio system. And we will use electronics sensors to measure user’s gestures as input data. The class is primarily project based, and we will prototype a number of new musical instruments and interactions. Students are expected to have experience using computers for music-making, such as MUSI 3390 or MUSI 2350, and experience with PureData or Max is highly desirable.

4720 Instrumental Conducting II

Ben Rous
3.0 credits
Lecture: MW / 3:30-4:45 pm / OCH 113
Class Number: 13936

This course is designed to continue the progress of students on the path toward mastering all requisite skills necessary to be an effective instrumental conductor.  Score study and preparation will form the backbone of the course.  The physical technique of conducting will be analyzed and practiced.  Students will continue to develop their own voice as concert programmers, and will hone their inner ear and musical ideation.

Prerequisite: Instrumental Conducting I, or instructor permission

4760 Choral Conducting II

Michael Slon
3.0 credits
Lecture: MW / 2:00-3:15 pm / OCH B012
Class Number: 19243

 

MUSI 4993: Independent Study

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

 

 

Spring 2018 Graduate Courses

MUSI 7510 Cultural and Historical Studies of Music
Topic: Studies in Music and Memory

Karl Hagstrom-Miller
3.0 credits
Lecture: M / 2:00-4:30 pm / OCH S008
Class Number: 19244

 

MUSI 7520 Current Studies in Research and Criticism
Topic: Inventing Folk Music

Richard Will
3.0 credits
Lecture: R / 2:00-4:30 pm / OCH S008
Class Number: 19245

Recent studies of folk music have emphasized the political, social, and aesthetic agendas informing its collection and performance, and its use in constructing and enforcing boundaries of class, race, region, and nation.  This seminar will focus on the invention of an Anglo-American folk tradition from the 18th century through the present, and its role in defining whiteness.  Examples will range from the earliest collections of Scottish and Irish music to recent representations of musical Appalachia.  Students will have the opportunity to explore these and other traditions in individual projects.  Musical experience is not necessary, and students from all humanities disciplines are welcome.

MUSI 7526 Topics in Ethnomusicology

Noel Lobley
3.0 credits
Lecture: W / 2:00-4:30 pm / Wilson 117
Class Number: 21366

 

MUSI 7540 Music & Movement

Luke Dahl
3.0 credits
Lecture: M / 5:00-7:30 pm / OCH B011
Class Number: 21364

Music and movement seem to be linked in a number of ways, including through dance, the actions required to perform musical instruments, the idea of a musical gesture, and our experience of movement when listening to music. In this seminar we will explore these relationships through readings and discussion. We will learn about technologies for capturing physical movement. We will explore ways that movement data can be mapped into sound. And we will create musical works based on these ideas and technologies.

MUSI 7584 Proseminar Computer Music Composition

Judith Shatin
3.0 credits
Lecture: W / 3:30-6:00 pm / TBA
Class Number: 19247

 

 

Address

McIntire Department of Music
112 Old Cabell Hall
P.O. Box 400176 Charlottesville, VA 22904-4176

Email: music@virginia.edu