MU091fjs Music Lessons: Noncredit or JP 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
MU111s 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
MU116j Acoustic/Electric Grunge/Rock Songwriting: A Composition SeminarStudents will engage in intensive and sustained listening exercises in order to develop an understanding of form, melody, harmony rhythm and text in a wide range of contemporary and commercial musical genres: grunge, crossover, rock, trance, among others. Students will use their developing knowledge/musical skills to complete multiple small-scale composition projects in preparation for a a recording and public performance of one completed composition for multiple musicians.Prerequisite:Basic knowledge of music terminology and concepts.Three credit hours.A. Fournier
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. Nongraded.Three credit hours.A. Benissan
MU120f Exploring Music and Gender Explores the rich intersection between music and gender, providing students with an introduction to seminal topics in the field. Students will hone their listening skills and develop the necessary vocabulary with which to analyze, discuss, and write intelligently about music. They will explore a range of scholarly approaches to analyzing music and gender and learn to write essays of varying lengths and styles. Students will also be walked through the steps of writing a research paper, from navigating online resources to crafting solid arguments, writing persuasively, and organizing a coherent essay.Four credit hours.A, W1. Zelensky
[MU121] 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.
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. 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
MU181f Music Theory I The first in a sequence exploring the language and composition of Western tonal music. Just as learning a foreign language involves mastering a variety of skills, becoming musically conversant 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, seventh chords, basic counterpoint, harmony, and keyboard-style writing. Students compose in a variety of styles and study ear training and sight singing. Concludes with a public recital of student works. Primarily for students with some prior musical training (see also Music 153 and 154).Four credit hours.A. Hallstrom, Nuss, 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, and several composition projects. Concludes with a public recital of student works. Primarily for music majors and others with prior training in music.Prerequisite:Music 181.Four credit hours. Hallstrom, Nuss
MU191fjs Music 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 flute choir, vocal ensemble, 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. Sings music of major styles and periods of the choral canon, folk music, world music, American music, and new compositions. Performs concerts each semester and also for formal College functions and the annual Carols and Lights celebration. Also collaborates with the Colby Symphony Orchestra in a performance of a major work for orchestra and chorus. Enrollment is confirmed through non-competitive auditions at the beginning of each semester. PERRY
Collegium. A vocal and instrumental ensemble devoted to the performance of a wide range of musical styles and genres ranging from traditional choral music, rock/pop songs, a cappella ensembles, world music, jazz, and new works. Performs frequently in concert, for various College functions, and off campus. Enrollment is confirmed through non-competitive auditions at the beginning of each semester. PERRY
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. PARK
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
MU213s Introduction to Computer Music Can music be expressed in quantifiable terms and still retain the non-quantifiable magic that affects us in such powerful ways? We attempt to answer this question by examining the ways composers of computer music have used synthesis techniques, top-down design, algorithmic music generation, and real-time interactivity to create musically meaningful output. Students learn how to describe musical processes as algorithms and to use those algorithms to assist in creating their own compositions. Composition and sound design are explored using the graphical music programming language Max and other audio manipulation and sequencing applications.Four credit hours.A. Hallstrom
MU218j Seeing, Then Hearing: Graphic Design for the Music Industry While it may seem counterintuitive, 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, international visual fluency. We will look at and listen to well-known releases with an eye to the differences in the visual publicity and packaging in the European, Asian, and American markets for albums by 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 formulate and debate answers to a number of complex multicultural design problems. Previously listed as Music 297J.Three credit hours.A. Jee
[MU222] 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, observation, and engagement with members of Maine's various musical communities. Students will learn ethnographic field methods and conduct interviews at sites that make up the rich tapestry of Maine's soundscape, focusing on the Penobscot, Lebanese, Somali, Russian, or Franco-American communities, depending on the year. We will consider issues of representation and of conducting fieldwork, culminating in a short documentary film based on the material gathered.Four credit hours.A.
MU223j Perception of Music An inter-disciplinary exploration of music and psychology. We will consider some of the predominant theories of how we perceive music, including ideas about memory and music. We will draw upon concepts central to cognitive psychology, including aspects of auditory memory, brain processes, melodic and rhythmic grouping, schematic frameworks, and hierarchical structures in music. Students will actively experience music and relate what they are hearing to the theoretical models. Central to the class is discussion of each student's individual responses to music and exploration and development of ways to map their experiences.Three credit hours.A. Helm
MU226j Music as Therapy: Across the Life Span Music therapy is an integrative therapeutic approach increasingly used as complementary health care in treating autism, Alzheimer's Disease, and other medical/psychological issues. Students will 1) acquire an historical, philosophical, musical and ethnomusicological perspective of music (as) therapy, 2) gain a knowledge of the broad background of the clinical practice music therapy, 3) learn how music as a creative art and as therapy is utilized by various populations and cultures, and 4) gain a broader appreciation of the potential for interdisciplinary uses of the creative arts. Includes an off-campus visit to observe a program that utilizes music therapy in the treatment of populations with special needs.Three credit hours.A. Wittenberg
MU234s From Rockabilly to Grunge: A History of Rock 'n' Roll A survey of rock music, from its roots in country and blues to the alternative rock scene of the 1990s. 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. Saunders
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 Examines a range of classical, traditional, and contemporary musics from areas as diverse as India, West Africa, the Caribbean, Eastern Europe, and the Middle East, among others. Each unit engages a broader sociocultural issue to enable students to think deeply and critically about the music in question, exploring such topics as music and Apartheid, the Arab Spring, and the appropriation of "world" music by Western musicians. Students will have the opportunity to perform some of the music they study, including West African drumming patterns, salsa dance steps, and Bulgarian vocal practices, among others, and there will be guest performances. No prior musical experience necessary.Four credit hours.A, I. Zelensky
[MU254] 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.
[MU261] Topics in Theater Performance: The Musical as Dramatic LiteratureListed as Theater and Dance 261.Four credit hours.A.
MU262s Music in Life, Music as Culture: Introduction to EthnomusicologyProvides 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, and spirituality, among others. 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 and a concert, and creating a podcast based on the soundscapes of Colby's campus.Four credit hours.A, I. Zelensky
MU275f Cultured Tough Guys: Samurai Devotion, Music, Poetry, and Art Generally known as the warrior class of medieval and early modern Japan, the samurai have a long history in the Western imagination. Famous Japanese warrior movies of the 1950s and 60s, more modern images of crafty ninjas, and characterizations in Western media most often present the samurai men and women as one-dimensional automatons ready to fight and die at a moment's notice for their superior's cause. Experiential learning activities (including Zen chanting and meditation), historical readings, music performances, recordings, and films present a more refined view of the samurai that highlights their elegant contributions to every aspect of the visual, literary, and musical arts of Japan.Four credit hours.A, I. Nuss
[MU281] Music Theory III A continuation of Music Theory II, covering advanced chromatic harmony and modulatory techniques, counterpoint, and tonal analysis. Students will learn principles of Schenkerian analysis, including the concepts of composing-out, structural levels, harmonic degrees (or Stufen), melodic fluency, linear progressions, compound melody, and the middleground transformations. Attention to Schenker's early ideas about melody, harmony, and counterpoint; his development of the idea of the Ursatz or fundamental structure; his analytical and graphing techniques; and recent developments in Schenkerian theory.Prerequisite:Music 182.Four credit hours.
MU282s Music Theory IV The study of post-tonal musical languages in Western art music of the 20th century, analytical approaches to non-Western music and the music of composers influenced by non-Western musical forms and material, and form and harmony in the music of the American Broadway musical great, Stephen Sondheim. Concludes with a public recital of student compositions. Primarily for music majors.Prerequisite:Music 281.Four credit hours. Nuss
[MU341] 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.Prerequisite:Music 111 and 182.Four credit hours.
[MU483] 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.
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
[MU493] Seminar: Philosophy and Aesthetics of Music A reflection on two deceptively simple questions: What is music and why is it significant? Philosophical, musicological, psychological, sociological, and critical approaches to questions on topics such as: expression (In what sense can music have meaning?); representation (Can music represent objects, emotions, or ideas in the material world?); ontology (What is a piece of music or a musical "work?" Can it exist apart from notation or performance?); and aesthetic value (What makes a work great or banal?). Examines traditional positions in aesthetics along with recent challenges to traditional views posed from feminist, post-structuralist, and other critical perspectives.Prerequisite:Music 281 or 282.Four credit hours.