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Music Course Descriptions
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MU091fjs 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. Noncredit. FACULTY
MU093fs Applied Music: Ensemble, Noncredit Noncredit participation in musical ensembles sponsored by the Music Department. See description for Music 193. Noncredit. FACULTY
MU111fs Introduction to Music An exploration and celebration of the art of listening. Develops techniques and vocabulary for critical listening, emphasizing student listening to a range of musical works in a variety of styles. Surveys the history of Western art music from the Middle Ages to the present, emphasizing the relationship between music as a historical and cultural artifact and as an object of aesthetic delight. Special attention to the structure of musical works, their place in Western culture and history, and the ways in which sounding music reflects the beliefs and values of those who made (and make) it. No previous musical experience is assumed. Four credit hours. A. SAUNDERS
MU114j 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
[MU116] Introduction to the MIDI Studio Students will learn basic Musical Instrument Digital Interface (MIDI) and digital audio techniques primarily using the Ableton Live software program in the Colby electronic music studio. Topics include sequencing, synthesis, sampling, and audio processing. We will listen to classics of electronic music as well as current works. Each week students will create a piece of electronic music that will be played for the entire class. Final compositions will be played for an audience. Prerequisite: Knowledge of basic musical concepts such as pitch, rhythm, and time signature is assumed. Three credit hours. A.
MU118j 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
MU120s Popular Music Criticism This first-year writing course explores the styles and genres of current popular music. Students will develop listening skills and, through readings in current (pop) music criticism, learn to write effectively and persuasively about music. Four credit hours. A,W1. BORGERDING
MU121j 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
MU153f Introduction to Music Theory Through Composition An introduction to the fundamental elements of music theory through analysis and composition. Students will learn to compose pieces in a variety of styles by effectively manipulating rhythm, intervals, scales and keys, melody, harmony, and form. Particular emphasis will be placed on the analyze/emulate model. Primarily for students without extensive musical training. May be taken as preparation for Music 181. Students cannot receive credit for both this course and Music 154. Four credit hours. A. HALLSTROM
MU154s Introduction to Music Theory Through Improvisation An introduction to the fundamental elements of music theory through improvisation. Students will learn about rhythm, intervals, scales, keys, melody, and harmony and how to use them to effectively improvise in a variety of styles. While designed for students without extensive musical training, does require basic music reading skills. May be taken as preparation for Music 181. Credit cannot be earned for both this course and Music 153. Prerequisite: Ability to read music. Four credit hours. A. HALLSTROM
[MU157] Music in the Digital Age Examines trends and techniques in digital music composition from 1983 to the present with an emphasis on avant-garde works involving interactive multimedia. Students will learn to critically assess a wide range of music that integrates digital technology and to analyze it based on its structure as distinct from its representational meaning. Hands-on compositional exercises will introduce students to software tools for manipulating sounds and images, creating interactive multimedia performances. Culminates in a group project that will synthesize work in all three components of the cluster. Four credit hours. A.
MU172f Music and Gender Can musical sounds be gendered? What is the relationship between sound, sex, and the body? What elements of a musical performance—pitch, timbre, lyrics, instruments, staging, audience reaction—can inform, reflect, or construct modes of gender, and how, in turn, can this space be used as a subversive realm? How do these constructions vary across time and cultures? Exploring such questions through the lens of Western classical, pop, and world musics provides students with a starting point for considering the rich and often contested intersection between music and gender. Four credit hours. A. ZELENSKY
MU181f 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
MU182s 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
MU191fs 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, 154, or 181 (may be taken concurrently). One or two credit hours. FACULTY
MU193fs 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, 154, or 181 for graded credit (may be taken concurrently). One credit hour.
African Drumming. Performance of music from various African cultures, with hands-on experience with various instruments, including drums, rattles, and 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. DOSMAN
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. BORGERDING
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. RENARD
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 One credit hour. FACULTY
MU197j Music Industry Seminar A broad overview of the recording and music industry. Students will learn the structure of, and relationship between, the recording, music publishing, marketing, and live performance industries. In addition, students will learn about different career and income opportunities, how to develop a strategy to break in and succeed in the industry, and to understand the business aspects involved in producing, manufacturing, marketing, and distributing musical content. To the extent possible, project opportunities will be aligned with students' individual interests. Three credit hours. RENARD
MU222s Maine's Musical Soundscapes: Ethnography of Maine What are the musical cultures outside of Colby and what are the communities making this music? We will engage this question through direct interaction and observation of Maine's ethnic and racial communities. Students will learn ethnographic field methods and take field trips to conduct interviews at sites that make up the rich tapestry of Maine's soundscape, including Waterville establishments and Penobscot, Lebanese, Somali, Russian, and French-Canadian communities (the group under study will rotate on a yearly basis). Students will present their findings in a written or cinematographic study. Four credit hours. A. ZELENSKY
MU234f From Rockabilly Kings to Lady Gaga: A History of Rock 'n' Roll A survey of rock music, from its roots in country and blues to the postmodern eclecticism of Lady Gaga. Rock music will be considered in relation to race, sex, gender, drugs, technology, marketing, and politics to better understand its powerful position in constructing, challenging, and reinforcing various positions of identity. Students will learn to discuss the musical characteristics of a work, identify its genre and era of composition, and contextualize it within a broader framework of American culture and politics. Four credit hours. A. ZELENSKY
MU241f Music History I: Middle Ages to the Early Baroque Period An exploration of Western art music from c. 800 to c. 1700, including principal genres from the Middle Ages (chant, organum, motet, chanson), Renaissance (mass, motet, madrigal), and the 17th century (opera, instrumental music). Focuses on compositional concepts and processes, historical music theories, institutional patronage, and the connections between music and such areas as theology, philosophy, and the visual arts. Students develop analytical and writing skills through listening, writing, and analysis. Prerequisite: Music 111 and 181. Four credit hours. BORGERDING
MU242s Music History II: High Baroque to the Dawn of Romanticism Focuses on music of the High Baroque, Classical, and early Romantic periods, including works of Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, and Schumann. Students develop critical, analytical, and listening tools for dealing with these repertoires and hone their bibliographic, oral, and written skills. Theoretical issues include the relationship between musical structure and cultural context, music's relationship to literature and the visual arts, tonality, music and drama, and aesthetics. Prerequisite: Music 111 and 181. Four credit hours. SAUNDERS
MU252f Introduction to World Music While nearly every society in the world has music as an important part of life, its meaning varies widely. We will examine some of the ways music is integrated in different societies in the world, focusing on a variety of musical traditions in Asia, Africa, the Near East, and the Americas. Units cover religious ritual, art music, theater and poetry, and festival. Traditions covered include santeria, north Indian classical music, Russian folk music, gagaku, Brazilian capoeira, samba, Native American pow-wow, 'oud art music, and many more. Open to first-year students. Four credit hours. A, I. ZELENSKY
MU254f Music of Meditation Study of music, ritual, and meditation in Rinzai Zen Buddhism, monastic Roman Catholicism, and Hinduism. Attention to ways communication and apprehension of sacred texts are affected by unique musical and meditative practices and ritual forms. Units include (1) discussion of writings by Japanese, Indian, and Western philosophers, musicians, and theorists of language; (2) instruction in the three forms of ritual choreography and meditation techniques; (3) chant instruction and performance. Each unit concludes with a required public group performance scheduled outside regular class time. Willingness to engage in original research and participate in group chanting and meditation/contemplation exercises is essential. Four credit hours. A. NUSS
[MU258] The Politics and Poetics of Music and Dance of Eastern Europe A historical, cultural, and practical exploration of traditional music and dance of various regions of Eastern Europe, including Bulgaria, Serbia, Romania, Albania, Russia, Greece, and Georgia. Students will learn basic techniques of folk singing, dancing, and instrument playing of these regions and will examine the use of Eastern European folk music in Western art music and its role in broader political sociocultural realms, including gender relations, ethnic and religious identity, and Socialist/post-Socialist politics. Four credit hours. A.
MU262s Music in Life, Music as Culture: Introduction to Ethnomusicology Provides students with a theoretical and methodological introduction to ethnomusicology, a discipline that is rooted in exploring music not merely as an aesthetic object, but as a cultural force that reflects and shapes our everyday lives. Topics include: music and medicine, migration, war, ethnicity, sexuality, and spirituality. Topics will be explored through a close reading of seminal texts and an examination of relevant theory. Students will also learn the fundamentals of conducting ethnographic fieldwork through attending a religious ceremony, a concert, and scrutinizing the soundscapes of Colby's campus. Four credit hours. A. ZELENSKY
[MU267] 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. We will examine the ways in which the Gandhi Ashram in Kalimpong, India paradoxically uses Western classical music and other elements from India's colonial legacy as the means to overturn long-held social and cultural prejudices that are an everyday part of the lives of their economically disadvantaged and low caste students. Students serve as general subject 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 as one unique Indian way of dealing with basic issues of human rights. Estimated cost: $2,900. Three credit hours. A, I.
MU275j Cultured Tough Guys: Samurai Devotion, Music, Poetry, and Art The samurai, known as the warrior class of medieval and early modern Japan, have a long history in the Western imagination. Through internationally famous Japanese warrior movies of the 1950s and 60s, and more modern images of crafty ninjas in video games and Western print and visual media, the samurai are often depicted as one-dimensional automatons ready to fight and die at a moment's notice for their superior's cause. A combination of historical readings and experiential learning activities offers a more refined view of the samurai and their elegant contributions to every aspect of the visual, literary, and musical arts of Japan. Three credit hours. A. NUSS
MU281f Music Theory III Analytical studies of advanced chromatic harmony and modulatory techniques in major works of the 19th century using composition assignments "in the style of" representative composers of the middle and late Romantic periods, analytical essays, and keyboard harmony and ear training assignments. An introduction to neo-Riemannian theory (triadic post-tonality) with applications to selected works of Brahms, Liszt, and Wagner. Students will learn to illustrate the logic of complex chromatic passages, explain their analyses in clear, discipline-specific prose, translate analytical thinking to actual composition, demonstrate advanced chromatic techniques at the keyboard, and develop a solid aural grasp of chromatic idioms. Prerequisite: Music 182. Four credit hours. NUSS
MU282s Music Theory IV Post-tonal harmony and contemporary analytical techniques. Primarily for music majors. Prerequisite: Music 281. Four credit hours. NUSS
[MU297] Seeing, Then Hearing: Graphic Design for the Music Industry While it may seem counter-intuitive, visual attraction is a central concern in the business of music. Getting music to the attention of the widest possible audience demands an increasingly refined and international visual fluency. We will look at and listen to several well-known and recent releases with an eye to the whats and whys behind the differences in the visual publicity and packaging in the European, Asian, and American markets for albums by artists such as Katy Perry, The Rolling Stones, Kanye West, and Kiss. Students will use readings in world and art history, ethnomusicology, and cultural theory, and hands-on work with Adobe Photoshop to debate and formulate answers to a number of complex, multi-cultural music industry design problems. Three credit hours. A.
MU298s Trancing: Possession, DJs, Electronica, Ritual, Ecstasy A close study of two very different musical worlds: the world of the electronic trance music DJ and his/her role in orchestrating a transcendent musical experience, and that of mainstream and tribal traditions of music-induced trance. While these two streams of trance seem to have wildly different goals and effects, close study of their individual rituals, practices, and environments strongly suggests that they may be striving for a similar transcendent goal. Through listening and reading assignments, writing projects, and class discussions, students will develop their own theories of the nature of these two streams of trance music as well as the roles they often play in both defining and contesting cultural identity. Four credit hours. A, I. NUSS
MU341f Music History III: Music of the 19th and 20th Centuries An overview of 19th- and 20th-century music with a focus on the evolution of musical styles and the manner in which they have been impacted by concurrent artistic, cultural, and political events. Students will acquire a fundamental knowledge of those composers considered to have had a significant impact on music from the late 19th century to the present and their position within the larger sociocultural milieu. Achievement of learning goals will be assessed based on performance on a midterm examination, an oral presentation (for which current presentation technology and methodology must be used), and a final research paper. Prerequisite: Music 111 and 182. Four credit hours. HALLSTROM
MU483f, 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
MU491f, 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
MU493s Seminar: Computer Music and Sound Design A hands-on exploration of the practical, theoretical and historical aspects of computer-generated music with an eye toward understanding its increasingly important role in the shaping of musical tastes. Prerequisite: Music 282. Four credit hours. HALLSTROM