Spring 2012 Course Schedule
Courses for Undergraduates
Music 1-01: Introduction to Western Music
Tuesday & Thursday, 3:00-4:15 (J+)
Introduction to selected forms and genres of Western music.
Emphasis on analytical listening and
cultural critique through guided examinations of both the formal organization
and the social/cultural background of a wide range of musical styles. Previous
musical training not required. One course credit.
Music 3-01: Introduction to World Music
Tuesday & Thursday, 12:00–1:15 pm (F+)
Exploration of diverse musical traditions around the world. Musical
systems, musical instruments, lives of musicians, social settings of
performance, music, and culture. Previous musical training not required.
One course credit. Locke.
Music 10: Introduction to Music Theory and Musicianship
01: Monday & Wednesday, 1:30 -2:45 pm (G+)
02: Monday & Wednesday, 3:00 -4:15 pm (I+)
03: Monday & Wednesday, 10:30 – 11:45am (E+)
Exploration of the basics of music theory, including notation, scales and modes, intervals, triads,
seventh chords, chord progressions, rhythm, melody, form and composition. An
introduction to ear training, sight singing, and keyboard skills. Intended for
non-majors. One course credit. McDonald(01), McCann (02), Kirsch (03)
Music 12-01: Intro to Popular Music Theory
Tuesday & Thursday, 10:30 – 11:45am (D+)
A study of the structure and forms used in
popular music through score analysis, transcription, and aural skills. Focus
includes the innovation and development within specific genres, as well as their
shared common practices. Genres studied will include: rhythm and blues, soul,
funk, hip-hop, rock, folk, musical theater numbers, and ballads from the 30's
-50's. Prerequisite: Music 10 or permission of instructor. One course credit.
Music 26-01: Beethoven
Monday & Wednesday, 10:30-11:45 am (E+)
Beethoven's life and music (orchestral, chamber,
solo, and vocal works), explored as an expression of cultural values central to
his own times and still powerful today. Classical musical conventions and
innovations that Beethoven inherited; the emergence of his musical persona as
"hero"; the meditative character of many of his late works. His overarching
influence on subsequent composers, critics, and theorists; his impact on
romanticist, philosophical, ethical, literary, and political thought. No
prerequisite. One course credit. Schmalfeldt
Music 32-01: The Pierrot Project: Moondrunk Madness, Transgression,
Monday & Wednesday, 9:00–10:15am (ARR)
An interdisciplinary exploration of Schoenberg's
Pierrot lunaire (1912), for voice, and chamber ensemble, one of the most
important and influential works of the twentieth century.
We will investigate its historical and cultural contexts in
turn-of-the-century Vienna and the cabaret culture of Berlin, its connections to
the Decadent and Expressionist artistic and literary movements, its performance
traditions, and its relationship to works by other composers and artists
throughout the century.
Students with a background in performance (in
voice, piano, flute, clarinet, cello, violin) will have the opportunity to form
ensembles to learn parts of the piece. The course will be connected to a group
of faculty and guest performers who will be giving master-classes and workshops,
building up to a performance in April. The course is also connected to the
development of an exhibit about Pierrot lunaire for the Slater Concourse, and
newly composed pieces by student composers. Team-taught by musicologist Joseph
Auner and pianist Donald Berman, the course is open to students from any
department, without prerequisite. This course fulfills an Arts Distribution
requirement. One course credit. Auner & Berman
Music 42-01: History of Jazz
Monday & Wednesday, 1:30-2:45 pm (G+)
Major figures and schools of this American music
approached primarily through detailed study of recordings dating from about 1914
through the present. Artists include Louis Armstrong, Duke Ellington, Charlie
Parker, Miles Davis, John Coltrane, and many others. One course credit.
Music 44-01: History of Rock & Roll
Tuesday & Thursday, 1:30–2:45pm (H+)
An examination of sociocultural meaning and
musical structure in rock 'n' roll and related idioms of popular music.
Emergence of the idiom in context of the history of American music. Connections
among various styles and major artists. Impact of technology and the music
industry.One Course Credit.
Music 59-01: Psychology of Music
Tuesday & Thursday, 3:00-4:15 pm (J+)
Examination of a wide range of topics in the
psychology of music: music perception; music cognition; music aesthetics; music
and emotions; the influence of music on human behavior; the nature and
measurement of musical abilities; music education; and child development. No
prerequisite. Cross-listed as Psychology 80. One course credit.
Music 64-01: Computer Tools for Musicians
Monday & Wednesday, 4:30-5:45 pm (K+)
Using computer technology to compose, arrange,
synthesize, transcribe, orchestrate, mix, and publish music. Tools to be covered
include ProTools, Sibelius, Reason, and Digital Performer. Students will
complete several creative projects using music hardware and software.
Prerequisites: Music performance and/or composition experience, ability to read
music, facility at the keyboard, familiarity with the Macintosh operating
system. One course credit. Lehrman.
Music 66-01: Electronic Musical Instrument Design
Monday & Wednesday, 1:30-2:45 pm (G+)
Non-standard electronic musical instruments of
"controllers," incorporating sensors that respond to touch, position, movement,
finger pressure, wind pressure, and other human factors, and their translation
to Musical Instrument Digital Interface (MIDI) data. Designing and building
original systems using common materials and object-oriented music-specific
programming languages and software-based synthesis. Students will complete
several creative projects using music hardware and software. Prerequisites:
Experience in one or more of the following – electronic music, electronic
prototyping, mechanical engineering, computer programming. Cross-listed as
Engineering Science 95. One course credit. Lehrman.
Music 99-01: Internship and Community Service
Opportunity for students to apply their musical training in a practical setting,
including community-based, profit or nonprofit, governmental, or other sites.
Individual faculty sponsor internships in their areas of expertise. Students
will work for 100+ hours, must have an on-site supervisor, and complete a piece
of meaningful scholarly work related to the internship area. May be repeated for
credit. One course credit. J. Auner.
All performance courses may be repeated for credit. All ensembles
are open to the Tufts community by audition.
Music 68 Sections 01-02: Private Lessons
Music 68-NC: Private Lessons (No credit)
Private lessons for voice or an instrument. Broad range of styles
including Classical, Jazz, Rock,
Klezmer, Eastern European, Middle Eastern, Arab, North African, Mediterranean,
Indian and Japanese vocal and instrumental music: voice, winds, brass, strings,
percussion, harp, guitar, piano, harpsichord, shakuhachi, viola da gamba,
recorder, koto, oud, banjor, mandolin, and accordion. New students must consult
the Coordinator of Applied Music for details before beginning lessons. Extra
tuition per semester is charged for this course. Applications for
scholarships are due the first week of each semester and include scholarships
for music majors or minors, financial aid, and ensemble scholarships.
Prerequisite for credit: fourth-year level of competence. Note: voice students
must study for non-credit in the first semester and audition by trial jury to be
accepted for credit. Senior voice students in their last semester are not
permitted to study for credit unless they have taken Music 68 in a prior
semester. One-half course credit. E. Auner.
Music 69-01: Tufts Concert Choir
Monday & Wednesday, 4:30-5:45 pm (K+)
Music 69-NC: Tufts Concert Choir (No credit)
Music for large vocal forces ranging from Bach to
Bernstein, including major works in the Western canon, recent compositions, and
arrangements of non-Western choral music. One-half course credit. Kirsch
Music 70-01: Chamber Singers
Monday & Wednesday, 3:00-4:15 pm (I+)
Music 70-NC: Chamber Singers (No credit)
Works for a small vocal ensemble, primarily a cappella, including Renaissance
motets and madrigals, arrangements of jazz, pop, and Broadway, compositions by
contemporary composers, and non-Western music. Prerequisites: Music 69 (Tufts
Concert Choir). One-half course credit. Kirsch.
Music 72-01: Gospel Choir
Friday 3:30-5:30 pm (ARR)
Music 72-02: Gospel Choir Sectional
Monday 4:30-5:45 pm (K+)
Music 72-03: Gospel Choir Sectional
Tuesday 4:30-5:45 pm (L+)
Music 72-04: Gospel Choir Sectional
Wednesday 1:30-2:45 pm (G+)
Music 72-NC: Gospel Choir (No credit)
Selected repertory of choral works from the African American
tradition of religious music. No prerequisite or previous musical
experience necessary. One-half course credit. Coleman.
Music 74-01: Opera Ensemble
Tuesday & Thursday, 4:30-6:30 pm (ARR)
Music 74-NC: Opera Scenes (No credit)
Music for beginning opera singers with emphasis on development of musical skills, staging
techniques, acting and singing skills, and role interpretation. Public
performance of opera scenes including solo arias. Co-requisite: concurrent
private vocal study for credit (MUS 68-01). One-half course credit.
Music 77-01: Tufts Jazz Orchestra
Tuesday & Thursday, 4:30-6:30 pm (ARR)
Music 77-NC: Tufts Jazz Orchestra (No credit)
Jazz instrumental and ensemble improvisation skills developed through
performance of classical jazz compositions and recent works for big band.
Elements of jazz, including rhythms, blues, and other traditional song forms;
jazz melody and harmony. One-half course credit. Smith.
Music 78-01: Jazz Improvisation Ensemble
Monday, 6:45-9:45 pm (ARR)
Music 78-NC: Jazz Improvisation Ensemble (No credit)
Focus on a practical knowledge of jazz improvisation in small combo settings;
includes blues and AABA structures, turnarounds, construction of chords,
phrasing, scale and chord relationships, and rhythmic pulse. One-half
course credit. Ahlstrand.
Music 78-02: Jazz Improvisation Ensemble
Wednesday, 6:45-9:45 pm (ARR)
Music 78-N2: Jazz Improvisation Ensemble (No credit)
See Music 78-01. Aruda.
Music 80-01: Tufts Symphony Orchestra
Tuesday & Thursday, 4:30-6:45 pm (ARR)
Music 80-NC: Tufts Symphony Orchestra (No credit)
Music ranging from the Baroque to the twenty-first century. Major works
for chorus and orchestra regularly undertaken with the Tufts Concert Chorale.
One-half course credit. Rose.
Music 83-01: Wind Ensemble
Monday & Wednesday, 4:30-6:30 pm (ARR)
Music 83-NC: Wind Ensemble (No credit)
Symphonic band and wind ensemble literature as well as contemporary works.
One-half course credit. McCann.
Music 86-01: New Music Ensemble
Thursday, 4:00-6:00 pm (ARR)
Music 86-NC: New Music Ensemble (No credit)
Recenty written compositions by both established
and student composers; free improvisation. Frequent performances. One-half
course credit. Berman.
Music 87-01: Early Music Ensemble
Tuesday, 6:30-9:30 pm (ARR)
Music 87-NC: Early Music Ensemble (No credit)
Music from the medieval period to the eighteenth century. Ensembles include
recorder consorts, lute ensemble, Renaissance wind band, small vocal ensembles,
viols, and mixed ensemble. One-half course
Music 88-01: Flute Ensemble
Monday, 7:15-8:45 pm (ARR)
Music 88-NC: Flute Ensemble (No credit)
Composed of members of the flute family (piccolos, C-flutes, alto flute, bass flute). Performs music
from several centuries and a wide variety of styles (Renaissance, Bach, Debussy,
Joplin, avant-garde). One-half course credit. Barwell.
Music 89-01: Chamber Music Ensembles
Music 89-1NC: Chamber Music (No credit)
Study and coaching of selected works for small chamber ensembles. Audition
required. For details, consult the Coordinator of Applied Music.
One-half course credit. E. Auner.
Music 91-02: African Music Ens. - Kiniwe Courses in Music and Dance
Monday & Wednesday, 3:00-4:15 pm (I+)
Music 91-NC: African Music Ensemble (No credit)
These courses teach a repertory of traditional music and dance from Ghana.
The instrumental music is for an ensemble of bells, rattles, and drums.
The vocal music is call-and-response choral singing. The dances emphasize
group formations with some opportunity for solos. The material focuses on
the heritage of the Ewe people of Ghana and Togo. In performance the group
takes the name Kiniwe (KIH-nee-way), a rallying cry
that means, "Are you ready? Yes!" One-half course credit. Agbeli.
Music 91-03: African Music Ens. - Kiniwe Courses in Music and Dance
Monday & Wednesday, 6:30-7:45 pm (ARR)
Music 91-N: African Music Ensemble (No Credit)
This section is for students continuing from Fall semester. These courses
teach a repertory of traditional music and dance from Ghana. The instrumental
music is for an ensemble of bells, rattles, and drums. The vocal music is
call-and-response choral singing. The dances emphasize group formations
with some opportunity for solos. The material focuses on the heritage of
the Ewe people of Ghana and Togo. In performance the group takes the name
Kiniwe (KIH-nee-way), a rallying cry that means, "Are you ready?
Yes!" One-half course credit. Agbeli.
Music 92-01: Arab Music Ensemble (Tufts Takht)
Monday, 6:00-8:30 pm (Q+)
Music 92-NC: Arab Music Ensemble (Tufts Takht) (No credit)
Performance of both classical and folk Arab music. The maqām micro-tonal scale
system as applied to both Western and Arab instruments. Improvisation, form,
style, rhythmic cycles, as well as Arab vocal diction. Some Arab ouds (lutes) to
be made available. One half-course credit.
Music 93-01: Javanese Gamelan Ensemble (Rinengga Sih Tentrem)
Tuesday & Thursday, 6:30-8:00 pm (ARR)
Music 93-NC: Javanese Gamelan Ensemble (Rinengga Sih Tentrem) (No credit)
Central Javanese music performed on a gamelan orchestra, a traditional ensemble
consisting of mostly percussion instruments – gongs and metallophones. Repertory
drawn from the centuries-old court tradition as well as more modern works of
post-independence Indonesia. Preference given to returning students. Permission
of instructor required. One-half course
Music 95-01: Klezmer Ensemble (Jumbo Knish Factory)
Wednesday, 6:30-8:30 pm (ARR)
Music 95-NC: Klezmer Ensemble (Jumbo Knish Factory) (No credit)
Old style and current Klezmer music, the celebratory art originating with the
Ashkenazi Jews of Eastern Europe. Improvisation of lead melodies. Arrangements
and instrumental roles. One-half course
Music 97-01: Special Topics: Electronic Music Ensemble
Tuesday, 6:45 – 9:45pm (ARR)
Ensemble members will perform existing and original repertoire using electronic
instruments such as wind, hand, and game controllers; percussion pads, MIDI guitars,
and keyboards; and as new instruments designed by ensemble members and students in
Music 66 (Electronic Musical Instrument Design). Extensive use of computer-based
synthesis and performance. Semester will culminate in a public concert.
Required: ability to read and write music, proficiency on a musical instrument.
Preferred: experience in musical improvisation, knowledge of MIDI and synthesizer
programming. Limited to 8. Permission of instructor required.
Zero credit, pass/fail only. Lehrman
Music 195-01: Senior Recital
Substantial solo senior recital that includes researched program notes.
Please meet with the Coordinator of Applied Music one semester in advance for
information and timeline. Prerequisite: permission of Coordinator of Applied
Music, private teacher, and academic advisor. One course credit.
Courses for Undergraduate Majors and Graduate Students
Music 102-01: Principles of Tonal Theory II
Monday & Wednesday, 1:30-2:45 pm (G+)
An integrated approach to tonal harmony, counterpoint, and the analysis of form
within complete tonal movements. Attention given to the development of aural
skills such as sight singing and dictation; concurrent enrollment in the
Ear-Training Lab 0102-LA or 0102-LB required.
Prerequisite: Music 101 or placement through the Music Theory Placement Test.
One course credit. Schmalfeldt.
Music 102-LA: Ear Training Laboratory
Tuesday & Thursday, 12:00-12:50 pm (F)
Music 102-LB: Ear Training Laboratory
Monday & Wednesday, 3:00-3:50 pm (I)
Music 104-01: Jazz Theory I
Tuesday & Thursday, 12:00-1:15 pm (F+)
Harmonic and melodic techniques of jazz and popular music. Extended chords
(ninths, elevenths, thirteenths) and substitutions; modulations and free melodic
treatment of dissonance. Song forms. Written exercises and analysis; emphasis on
student composition. Continuation of aural and keyboard skills. Prerequisite
Music 102 or permission of instructor. One
course credit. Smith.
Music 109-01: Musical Systems of the Arab World
Monday & Wednesday, 10:30–11:45am (E+)
Arab musical traditions from a music theory perspective. In-depth study of the
modal system (maqãm) and rhythmic cycles (îqã'ãt), approaches to modulation and
improvisation, ensemble texture, formal analysis, the relationship between
theory and practice, and theories of music and emotion. One course credit.
Music 118-01: Seminar - Composition
Monday, 4:30-6:30 pm (ARR)
A project-oriented course with emphasis on the creative experience. Lectures on
significant composers; attendance at concerts of contemporary music.
Prerequisite: Music 103 or permission of the instructor. One course credit.
Music 130-01: Jazz Arranging and Composition
Tuesday & Thursday, 3:00-4:15 pm (J+)
Techniques of arranging jazz and popular compositions for ensembles of various
sizes and types. Intensive work on student compositions. Prerequisite: Music 104
or permission of instructor. One course credit. Smith
Music 143-01: History of Western Music (1770-present)
Tuesday & Thursday, 1:30-2:45pm (H+)
An historical and cultural overview of European and North American art music
from Haydn and Mozart through the present, with close readings of representative
works. Prerequisite: Music 10 or equivalent with permission of instructor. One
course credit. Campana.
Music 172-01: Studies in West African Music
Tuesday & Thursday 3:00-4:15pm (J+)
Studies in West African Music will focus on traditional and popularmusic of the
Dagomba, Ewe, Mande and Yoruba peoples.Although ourmethod will draw from
music theory, music history, musicalperformance, and organology (music
instruments) but the primarydisciplinary foundation will be ethnomusicology
(the study of peoplemaking music).An issue of particular emphasis in spring
2012 willbe the subject position of the source of expert knowledge,
especiallythe contrast between a scholar's culture of origin (African and
non-African), race and gender.Students who would enroll in the coursemust
have significant prior musical experience such as academiccourses, private
lessons in a music instrument, or performanceexperience in a musical
ensemble.A term project of significantscope and rigor is required.
One course credit. Locke
Music 183-01: Music and Trance
Wednesday 4:30 – 7:00pm (ARR)
Cross-cultural approaches to understanding the relationship between
music and trance. Topics include music and healing, spirit possession,
and the religious experience. Case studies from Africa, Asia, Europe, and
the Americas. Intended for advanced music majors and graduate students.
One course credit. Jankowsky
Music 185-01: Studies in Women and Music: Black Divas
Tuesday, 9:00-11:30 am (1)
The Diva, stemming from the word divine, has long served as a powerful figure of
adoration and identification for a number of disenfranchised identities. This
course examines the figure of the Black Diva in US culture from Opera to Hip Hop
using a variety of theoretical lenses from queer theory to black feminist
thought and explores the articulation and construction of individual and
communal identity through a detailed engagement of the musical performances of
Black Divas across time and place. Students will engage with the course
materials through weekly presentations, writing assignments, and vigorous
discussions. The course will culminate in a substantive analytical paper.
One course credit. Pennington.
Music 197-01: The Pierrot Project: Moondrunk Madness,
Transgression, and Transcendence
Monday, 9:30 – 11:30am & Wednesday 9:00 – 10:15am (ARR)
An interdisciplinary exploration of Schoenberg's Pierrot lunaire (1912), for
voice, and chamber ensemble, one of the most important and influential works of
the twentieth century. We will
investigate its historical and cultural contexts in turn-of-the-century Vienna
and the cabaret culture of Berlin, its connections to the Decadent and
Expressionist artistic and literary movements, its performance traditions, and
its relationship to works by other composers and artists throughout the century.
Students with a background in performance (in voice, piano, flute, clarinet,
cello, violin) will have the opportunity to form ensembles to learn parts of the
piece. The course will be connected to a group of faculty and guest performers
who will be giving master-classes and workshops, building up to a performance in
April. The course is also connected to the development of an exhibit about
Pierrot lunaire for the Slater Concourse, and newly composed pieces by student
composers. Team-taught by musicologist Joseph Auner and pianist Donald Berman,
this section of the course is open to music majors and graduate students. It counts
as one of the two electives required for the music major. One course credit.
Auner & Berman
Music 197-02: Special Topics: Composing for Film
Monday and Wednesday, 3:00 – 4:15pm (I+)
This course offers a hands-on approach to the study of composing music for film.
Through study andanalysis of renowned film scores and by composing music for
selected film clips and student films (T.B.A.) the course participant will gain
a thorough understanding of film music aesthetics and technical process.
Students will have access to the music lab and will also be encouraged to record
the music that they compose with live musicians with the assistance of Granoff
music center engineers.The course will also cover, in broad terms, the history
and evolution of music for film and other media. Students who are
interested in this course should be capable composers and should have a working
knowledge of notation and sequencing software (such as Finale or Sibelius and
Digital Performer or Pro Tools).Prerequisite: Music 10 or consent of instructor.
One Course Credit. Roustom
Music 197-03: Special Topics: Film/Sound/Music
Thursday, 9:00 – 11:30 (3)
This seminar will focus on music, dialogue and sound as determinants of the
audio-visual experience. Through the analysis of several types of audio-visual
artifacts (from silent to digital cinema, melodrama and film noir, horror and
sci-fi, animation and music videos) and the reading of current theoretical
literature in musicology, film studies and media studies, we will question
common assumptions about the modes and relationships of image-track and sound
track.The seminar is designed for graduate and advanced undergraduate students
in any field. One Course Credit. Campana
Music 198. Special Topics
Guided independent study of an approved topic.
Credit as arranged. J. Auner.
Music 199-01: Senior Honors Thesis
Guided research on a topic that has been approved
as a suitable subject for an Honors Thesis. J. Auner.
Music 200-01: Combined Degree-NEC
Music 203-01: Seminar - Fieldwork in Music Studies
Friday, 9:00-11:30 am (4)
Field techniques learned by doing: participant-observation, field notes,
interview audio/video documentation, project design and management, fundraising.
History of fieldwork, ethics, intercultural communication, self-other
relationships and awareness. Prerequisite:
graduate standing or permission of instructor. One course credit. TBD
Music 299: Master's Thesis
Guided research on a topic that has been approved as a suitable subject for a
master's thesis. Bernstein (01), Locke (02), McDonald (03), J. Auner (04),
Summit (05), Schmalfeldt (06), Jankowsky (07), Campana (8), Pennington (9).
Music 401-PT: Masters Degree Continuation, Part Time
Music 402-FT: Masters Degree Continuation, Full Time