|091fjs Lessons: Noncredit (or January Program) Noncredit instruction in voice and instruments for qualified students. Regular offerings include violin, viola, violoncello, piano, voice, flute, guitar (classical, American traditional, and jazz), and selected brass and woodwind instruments. One 30- or 60-minute lesson weekly in fall and spring; two 45-minute lessons weekly in January. For an application (required) and additional information concerning fees and scheduling, see the Music Department secretary. Cost during January Program: $265.
093fs Applied Music: Ensemble, Noncredit Noncredit participation in musical ensembles sponsored by the Music Department. See description for Music 193.
111fs Introduction to Music An exploration and celebration of the art of listening. Develops techniques and vocabulary for critical listening, emphasizing student involvement with a wide range of musical works. Stresses both the structure of musical works and their place in Western culture and history. Survey of musical styles from the Middle Ages to the present. No previous musical experience is assumed. Four credit hours. A. SAUNDERS
114j Jazz Improvisation Basic jazz theory and improvisation, including melody-, scalar-, modal-, and chord-based improvisation. Introduction to arranging for jazz groups and interactions between soloists and background musicians; jazz style and performance practices. Includes semiprivate instruction and performances in large groups and smaller combos. Listening assignments include jazz greats. Instrumentalists and vocalists welcome.
Prerequisite: Ability to sing or play major scales.
Three credit hours. A. THOMAS
118j African Music An introduction to the music of Africa, an integral and defining aspect of the culture of Africa. Hands-on experience with various instruments (e.g., drums, rattles, bells), as well as singing and dancing, to provide important insights into the cultures of Africa. Various African music themes will be explored through films and recordings. Culminates in a final performance by the class. Three credit hours. A. BENISSAN
121j Entartete (Degenerate) Musik "Degenerate Music" was the term Nazis applied to any music influenced by jazz, the avant-garde, or written by composers of Jewish descent. This music was banned, its composers driven into exile and/or murdered in concentration camps, creating a lost generation that altered the direction of 20th-century musical development. Now there is a worldwide effort to find a historical place for these artists, and this course contributes to that effort. Topics include German anti-Semitism, anti-Semitic thought in works of Wagner, Nazi racial laws targeting Jewish musicians, official agencies and cultural policies, performers and composers as victims and survivors.
Three credit hours. A, I. SILVER
 Tradition, Experiment, and Action: America's Postwar Music, 1945-1970 The genres of composition and musical performance that manifest political or social concerns during the uneasy postwar years in America. Among repertoires to be examined are establishment concert music and the revolutionary experimental styles spawned in opposition to it; doo-wop and the evolution of rock and roll; jazz, soul, and Motown; the cultivated folk tradition; and musical theater and film. Part of the three-course Integrated Studies 136, "America in the Postwar World: 1945-1970." Prerequisite: Elect IS136 for the required concurrent enrollment in American Studies 136 and History 136.
Four credit hours. A, U.
153fs Introduction to Music Theory An introductory survey of the main aspects of music theory and practice, including rhythm, intervals, scales and keys, melody, harmony, and form. Some music reading, creative writing, and analytical studies in various styles and periods are included. Primarily for students without extensive musical training; may be taken as preparation for Music 181.
Four credit hours. A. CHASE, HALLSTROM
181f Music Theory I The first course in a sequence exploring the language of music. Just as learning a foreign language involves mastering a variety of skills (listening, speaking, reading, and writing), becoming conversant in music requires the ability to hear, notate, analyze, compose, and perform. Assures that students are fluent in the elements and structure of music, including intervals, scales, triads, and seventh chords. Central attention to species counterpoint, all diatonic harmonies, and four-part writing. Introduction to composing in a variety of styles and to ear training and sight singing. Primarily for students with some prior musical training (see also Music 153). Four credit hours. A. BORGERDING, SAUNDERS
182s Music Theory II A continuation of Music Theory I that further refines students' command of diatonic harmony and counterpoint and introduces modulation and other important aspects of chromatic harmony. Includes regular work in ear training, studies of musical form, composition, and keyboard harmony. Primarily for music majors and others with prior training in music.
Prerequisite: Music 181. Four credit hours. NUSS
184f Musicianship Aimed at focusing students' musical sensibilities in both listening and performing contexts. Emphasis is on the development of aural skills, including recognition of increasingly complex musical patterns, sight-reading via both instrument and voice, and keyboard skills (including sight-reading of harmonic progressions and chorales, score reading, and simple improvisation). Primarily for music majors; open to other qualified students with permission of the instructor. Prerequisite: Music 181. Four credit hours. A. NUSS
191fs Lessons: Credit Instruction in voice and instruments for qualified students. Regular offerings include violin, viola, violoncello, piano, voice, flute, guitar (classical, American traditional, and jazz), selected brass and woodwind instruments, and African drums. The student's performance in the course will be evaluated by faculty jury at the end of the semester. For additional information concerning fees, scheduling, and related matters, see the Music Department secretary. May be repeated for additional credit.
Prerequisite: Music 153 or 181 (may be taken concurrently). One or two credit hours. FACULTY
193fs Applied Music: Ensemble for Credit
Credit for participation in musical ensembles sponsored by the Music Department. In addition to the large ensembles listed below, the department frequently offers a contemporary music ensemble, a flute choir, a guitar ensemble, a trumpet choir, a string ensemble (master class), and small chamber music groups. Interested students should consult the department for additional information before registering. May be repeated for credit. Prerequisite: Music 153 or 181 for graded credit (may be taken concurrently) and permission of the department. One credit hour.
African Drumming. Performance of music from various African cultures, with hands-on experience with various instruments, including drums, rattles, bells, and exposure to several traditions of African singing and dancing. The group presents concerts on campus and throughout the state of Maine. BENISSAN
Chorale. Colby's largest choral ensemble, its repertoire includes unaccompanied works of the 18th through 20th centuries by European and American composers as well as major works for chorus and orchestra. Tours and exchange concerts are arranged. Enrollment, open to all students, is through auditions early in the fall semester. CHASE
Collegium Musicum. Early music ensembles, performing music from before 1750. Groups include the Collegium Chamber Singers (a small choir of about 16 performers) and the Collegium Chamber Players (an instrumental ensemble). Instrumentalists (strings and winds) should contact instructor; enrollment for singers is through auditions early in the fall semester.
Jazz Band. Presents a standard big band setup, performing swing, Latin jazz, funk, soul, R & B, and bebop styles for concert, tour, and college functions. Brass, wind, and percussion players by audition. THOMAS
Orchestra. A symphony orchestra composed of students, local amateurs, and professionals performs four concerts per year of works spanning the entire range of major symphonic literature. Noncompetitive auditions are held at the beginning of each semester. HALLSTROM
Wind Ensemble. Each semester the ensemble presents a concert of works drawn from standard literature, symphonic works, movie music, marches, etc. Open to all interested brass, wind, and percussion players without audition. THOMAS
197f Music and the Global Metropolis An exploration of the meetings of diverse musical cultures in major metropolises of the world. The course will study six major cities (New York, Mexico City, Sao Paulo, Paris, Tokyo, and Mumbai), the musical developments to come from them, and the cultural conflicts and celebrations that emerge in contemporary urban life. Styles covered will include hip-hop, punk, reggaeton, mariachi, nor-tec, dancehall, roots music, samba, j-pop, shibuya-kei, karaoke, bhangra, filmi, "world music," and electronic dance music. Four credit hours. A, I. GOLDSCHMITT
197Aj Introduction to the MIDI Studio Introduces techniques for creating music using the hardware and software affiliated with the Musical Instrument Digital Interface (MIDI) which is central to most modern electronic music production. Students will gain an understanding of what MIDI is and its purpose in contemporary music; learn the basic functions of electronic music studio software and hardware, including keyboards, synthesizers, sequencers, samplers, and effects processors; and use this knowledge both analytically and creatively in electronic music compositions. Students will spend at least four hours in the lab each week. Final works will be presented in a short concert.
Three credit hours. A. DE KLERK
197Bj What Were the Blues?: Exploring 50 Years of Blues Recordings Explores the history of the blues through listening, discussion, writing, and other activities. Discovers the discursive relationships between musics rural and urban, popular and folk, local and regional, hearing everyday stories that resonated through generations. Although blues is primarily the legacy of singing guitarists like Charlie Patton, Skip James, and Robert Johnson, also includes vocal stylists like Bessie Smith; harmonica innovators like Little Walter; and driving pianists like Sunnyland Slim. Follows the rich legacy of the blues from its first recordings through World War II.
Three credit hours. A. FARINA
198As Taiko: Music, Movement, and Meaning Traces the history and cultural context of Japanese and North American taiko drumming. Issues of musical transmission, lineage, race, ethnicity, gender, power, and popular media will be explored through the assigned readings. In-depth discussion and hands-on training will be prioritized during class time.
Four credit hours. YAMAMI
198Bs Introduction to A Cappella Music A historical survey of the history and practice of Western a cappella music from ancient Byzantine choirs to the a cappella groups popular at Northeastern liberal arts colleges. Special attention will be given to analyzing the complexities of harmonic and textural aspects of the music and exploring the techniques of arranging pre-existing tunes for multi-part vocal performance groups. Prerequisite: Students should be able to read fluently in bass and treble clefs.
Four credit hours. A. CHASE
198Cs Computer Music Listed as Computer Science 198.
Four credit hours. Q. HALLSTROM, MAXWELL
 Visual Music Do sounds have color? Is it possible to "hear" an image? If so, can the intersection form the basis for a composite art form? Examines these questions from historical, philosophical, and practical viewpoints. Class time will be divided between lecture and hands-on work with audio/video software. Focuses almost exclusively on abstract sound and image, with mainstream film and music video receiving only passing attention. Assumes enrollees will have some background in music and/or art and a modicum of computer facility. Formerly offered as Music 297.
Four credit hours. A.
 Jazz History A survey of the first half-century of jazz (during its recorded era), examining the music and the cultural and social forces that shaped it. Specific consideration given to the development of various forms and styles (the blues, New Orleans jazz, stride piano, big band music, bebop) and analyses of the music of seminal performers and composers (Louis Armstrong, Bessie Smith, Duke Ellington, Billie Holiday, Charlie Parker, Miles Davis). Prerequisite: Music 111, 133, 153, or 181.
Four credit hours. A, U.
 American Musical Theater in the 20th Century A history of American musical theater in the 20th century, including an examination of African-American shows of the pre-Broadway era and the jazz age; cabarets and revues; Broadway's golden years--the works of Berlin, Gershwin, Kern, and Porter; modernist trends in the works of Rodgers, Weill, and Bernstein; classics and revivals of Broadway's second golden age; musicals on film; and postmodernism on Broadway (Sondheim). Prerequisite: Music 111, 136, 153, or 181.
Four credit hours. A.
 Burnt Biscuits and Green Onions: From Rhythm and Blues to Soul An examination of African-American popular song during the rhythm-and-blues era, from its origins in the 1930s and '40s in the blues, small band "jump blues," and black swing bands to its transformation into soul in the mid-1960s. A focus on analysis of the musical styles of individual musicians and groups as well as on a study of the way these styles analyze and comment on the culture(s) in which they are embedded. Prerequisite: Music 111, 133, 153, or 181.
Four credit hours. A, U.
241f Music History I: Middle Ages to the Early Baroque Period The first in a three-semester sequence for majors, acquainting students with the history and literature of Western art music. An investigation of compositional concepts and sociological contexts of the earliest notated music from the Middle Ages (c. 800) to polyphony of the Renaissance (c. 1400 to c. 1600) and the emergence of opera as well as the rise of autonomous instrumental music in the 17th century. Consideration of music within a broader cultural context with its relation, for example, to theology, literature, and the visual arts. Prerequisite: Music 111 and 181.
Four credit hours. BORGERDING
242s Music History II: High Baroque to the Dawn of Romanticism The second in a three-course music history sequence for majors. The principal genres of the High Baroque, Classical, and early Romantic periods (including opera, oratorio, cantata, song, sonata, string quartet, concerto, and symphony) as well as major composers (Bach, Handel, Haydn, Mozart, Beethoven, and Schubert). Theoretical issues and cultural context include music's relationship to literature and the visual arts, the nature of dramatic music, the rise of functional tonality, national styles, and aesthetics. Prerequisite: Music 111 and 181. Four credit hours. SAUNDERS
 Music of Meditation An introduction to chant from three very different faith traditions: Zen Buddhism, Roman Catholicism, and Hinduism. While various theoretical and historical concepts are engaged, in-class emphasis always is placed on the performance of chant and studies of and participation in meditative practices. Classes usually are divided into three activities: (1) discussion of readings and class questions, (2) relevant meditative practice, (3) chant instruction/performance. Each of the three chant units will conclude with a semipublic group performance scheduled outside of regular class time. A willingness to participate in group singing and meditation/contemplation is essential. Contact instructor about singing requirement. Four credit hours. A.
 Contact Zone In her influential critical work Imperial Eyes, Mary Louise Pratt introduces the concept of "contact zone"--a site of interchange and tension among language, history, tradition, and authority that characterizes colonial and postcolonial cultures. Pratt's concept is a framework for an examination of a perfect example of the contact zone: the Gandhi Ashram in Kalimpong, India. Students serve as teachers at the ashram and use their experiences to reflect on the ethical, cultural, and political implications of the school's unique, music-centered educational approach in ways that consider an Indian way of reframing musical issues of globalization, appropriation, and ownership. Cost in 2009-10: $2,800.
Three credit hours. A, I.
281f Music Theory III Advanced chromatic harmony, reductive analytical techniques, studies of late 19th- and early 20th-century forms, composition for a variety of standard instrumental combinations and multimedia formats. Continued work in ear training and keyboard harmony. Prerequisite: Music 182. Four credit hours. NUSS
282s Music Theory IV Post-tonal harmony and contemporary analytical techniques. Primarily for music majors.
Prerequisite: Music 281. Four credit hours. NUSS
298s Music in Colonial Latin America An exploration of the musical world of colonial and vice-regal Latin America. Topics include stylistic interactions between European and indigenous music and musicians of the 16th through the 19th centuries, the development of musical institutions and practices in the New World, and the role of music in the process of colonization, evangelization, and the formation of national identities. Course materials include assigned listening and readings. No previous musical knowledge necessary.
Four credit hours. A. BORGERDING
341f Music History III: Music of the 19th and 20th Centuries The third in a three-course music history sequence for majors. A survey of the music of Western Europe and America beginning with Hector Berlioz and continuing to the present. Issues include the evolution of symphonic, operatic, solo piano, and solo song styles during the mid and late 19th century and the subsequent impact these genres had on the wide-ranging stylistic, philosophical, and technological directions music has taken since the early 20th century. Prerequisite: Music 111 and 182. Four credit hours. HALLSTROM
 Beethoven and the Myth of Beethoven A survey of Beethoven's biography and music and their reception histories. Issues include the Beethoven Mystique, the "Immortal Beloved," Beethoven's personality, deafness, compositional style, and creative process. Beethoven's influence on music by generations of composers and listeners, including the Romantics, and the music's appropriation in Nazi Germany. Beethoven's music in modern popular culture from Peanuts comic strips to A Clockwork Orange, Die Hard, and Immortal Beloved. Formerly offered as Music 397. Prerequisite: Music 182, 184, 241, or 242.
Four credit hours.
 Conducting and Score Reading Basic conducting techniques and their application to stylistic interpretation, designed to develop the student's ability to read, rehearse, and perform a full instrumental or choral score with fluency and insight. Analysis and preparation of scores from different eras in music history, involving basic principles of score reduction for keyboard rendition.
Prerequisite: Music 281. Four credit hours.
398s Music, Media, and Representation Seminar about the critical issues of representing different groups of people in new forms of media. Explores the positive potential and negative consequences of music's power to represent in media through both theory and practice. Media to be considered include film, television, music video, advertising, cell phones, social networking Web sites (YouTube, Facebook, Twitter), and video games. Final projects may include a final research paper or multimedia presentation.
Four credit hours. A, I. GOLDSCHMITT
483f, 484s Honors Research I Substantial original research or completion of a major creative project under faculty supervision, culminating in a written paper and/or a public presentation.
Prerequisite: 3.25 overall grade point average, 3.5 major average at the end of the junior year, and permission of the department.
Three credit hours. FACULTY
491f, 492s Independent Study Individual topics in areas where the student has demonstrated the interest and competence necessary for independent work. Primarily for senior music majors. Prerequisite: Permission of the department. One to four credit hours. FACULTY
494s Seminar: Theories of Heinrich Schenker An exploration of one of the most elegant and influential theories of tonal music, the ideas of the Austrian theorist Heinrich Schenker. Topics include Schenker's writings on harmony and counterpoint, his development of the controversial idea of the Ursatz or fundamental structure, analytical and graphing techniques, and recent extensions and critiques of Schenkerian theory. Prerequisite: Senior standing as a music major or minor.
Four credit hours. SAUNDERS