Courses for Fall 20
Complete Cornell University course descriptions and section times are in the Class Roster.
| Course ID | Title | Offered |
|---|---|---|
| MUSIC 1100 |
Elements of Musical Notation
This four-week course fulfills the requirement of basic pitch, rhythm, and score-reading skills needed for some introductory courses and 2000-level courses with prerequisites. |
Fall (weeks 2-5 and 8-11). |
| MUSIC 1101 |
Elements of Music
Have you ever wondered: is there music in outer space? what is music's "deep history"? how do we know music when we hear it? why does it make us want to dance? does it also make us "civilized"? and how do cultural, technological, and economic forces shape why we listen, when we listen, and what we listen to? Elements of Music offers the opportunity to think about all these questions (and more) through a wide variety of hands-on musical activities: experimenting with instruments, recording and manipulating sounds from the world around us, examining medieval musical books, dancing the Twist, Sweatin' to the Oldies, improvising, singing, and above all, listening to music from around the world. Catalog Distribution: (LA-AS, ALC-AS) |
Fall. |
| MUSIC 1202 |
Classical Music from 1750 to the Present
An exploration of six canonic works of Western art music from the late 18th century to the mid 20th century, covering the so-called Classical, Romantic, early Modern eras; and then three New Departures from the late-modern and post-modern periods. The course emphasizes close listening and learning to be more articulate in speaking and writing about what you hear, see, think and feel. Catalog Distribution: (LA-AS, ALC-AS, HST-AS) Full details for MUSIC 1202 - Classical Music from 1750 to the Present |
Fall. |
| MUSIC 1320 |
Music of Latin America
This course examines the diverse music of Latin America, covering traditional, popular, and classical repertoire. Listening and discussion will focus on the most significant musical developments from early colonial times to the present. Catalog Distribution: (CA-AS, ALC-AS) |
Fall. |
| MUSIC 1421 |
Introduction to Computer Music
A composition-based introduction to computer hardware and software for digital sound and media. Fundamentals of audio, synthesis, sequencing, and other techniques for electronic music production. Each student creates several short compositions. Catalog Distribution: (LA-AS, ALC-AS) Full details for MUSIC 1421 - Introduction to Computer Music |
Fall. |
| MUSIC 1701 |
FWS: Sound, Sense and Ideas
This First-Year Writing seminar provides the opportunity to write extensively about music's place in our world. Topics vary by section. |
Fall, Spring. |
| MUSIC 2006 |
Punk Culture: The Aesthetics and Politics of Refusal
Punk Culture–comprised of music, fashion, literature, and visual arts–represents a complex critical stance of resistance and refusal that coalesced at a particular historical moment in the mid-1970s, and continues to be invoked, revived, and revised. In this course we will explore punk's origins in New York and London, U.S. punk's regional differences (the New York scene's connection to the art and literary worlds, Southern California's skate and surf culture, etc.), its key movements (hardcore, straight edge, riot grrrl, crust, queercore), its race, class and gender relations, and its ongoing influence on global youth culture. We will read, listen, and examine a variety of visual media to analyze how punk draws from and alters previous aesthetic and political movements. No previous experience studying music is necessary. Catalog Distribution: (CA-AS, ALC-AS) Full details for MUSIC 2006 - Punk Culture: The Aesthetics and Politics of Refusal |
Fall. |
| MUSIC 2101 |
Theory, Materials and Techniques I
Study of the foundations of tonal music as manifested primarily in the Western literate tradition, also incorporating examples from various vernacular idioms. The course combines modern pedagogical methods with the study of historical sources and focuses on active learning at the keyboard. Topics to be covered include rudiments such as scales and triads; melodic and harmonic principles; voice-leading strategies and schemata; species counterpoint; improvisation, including techniques of embellishment; rhythm, meter, and gesture. During sections, the concepts and skills introduced in lecture will be practiced at the keyboard as well as vocally. Other section activities include elements of musicianship (aural skills, intervallic production and identification, rhythmic accuracy and fluency, etc.); transcription; sight singing; and score reading. Catalog Distribution: (LA-AS, ALC-AS) Full details for MUSIC 2101 - Theory, Materials and Techniques I |
Fall. |
| MUSIC 2111 |
Songwriting
Songwriting introduces students to the practice of songwriting through workshop-formatted classes. We will explore the ingredients of song (lyrics, melody, delivery, harmony, rhythm, form, texture, timbre, and arrangement) through analysis, composition, recording technologies, performance, and concert reports. Proficiency on one or more musical instruments is required. Songwriting can be taken as a stand-alone course or as part of the Songwriting sequence with Collaborative Songwriting. Catalog Distribution: (LA-AS, ALC-AS) |
Fall. |
| MUSIC 2120 |
The Art of Conducting
This course, intended for music majors, music minors, and suitably interested non-majors and non-minors, surveys a wide range of music tracing the history of the conductor from time beater to CEO of a major cultural organization of a city. The course will involve score analysis as well as critical viewing, listening, and examination of primary and secondary sources. The course is designed to develop students' knowledge of repertoire, and the musical institution of the orchestra while encouraging students to think critically about music and all source materials. Catalog Distribution: (LA-AS, ALC-AS) |
Fall. |
| MUSIC 2208 |
History of Western Music II
This course, intended for music majors, music minors, and suitably qualified non-majors and non-minors, surveys the vast terrain and diverse topography of 18th- and 19th-century music across Europe and North America. Involving a comprehensive listening component alongside score study and a wide range of primary and secondary sources, the course is designed to develop students' knowledge of repertory, musical institutions, and social practices; it also aims to equip them with the means to think critically about music and texts amid shifting historical contexts. Catalog Distribution: (HA-AS, ALC-AS, HST-AS) |
Fall. |
| MUSIC 2221 |
Bach and Handel
Born within weeks of one another in 1685, their birthplaces less than one hundred miles apart in the forests of central Germany, George Frideric Handel and Johann Sebastian Bach composed extraordinary music spanning the gamut of human experience and grappling with fundamental human concerns (love, death, duty, happiness) with an expressive power that has never been surpassed. Handel was one of the great cosmopolitans of the eighteenth century and his life and works offer a panorama of European baroque culture. Bach by contrast spent his entire life in the region of his birth; yet his music demonstrates a miraculous awareness of the greater world beyond Germany. In this course students will encounter vocal and instrumental masterpieces by each composer taken from opera, the church, the court, and the home; we will explore the meanings of these works in their own time and their continued vibrancy in the twenty-first century. Catalog Distribution: (LA-AS, ALC-AS) |
Fall. |
| MUSIC 2260 |
Music of the 1960's
In this class, we will examine how musicians working in such genres as rock, jazz, folk, classical, soul, and experimental music responded and contributed to the major themes of the 1960s in the US: the counterculture, Vietnam, the civil rights movement, women's liberation, and the space race. We will examine written texts, recordings, and films from the period. The ability to read music is not required. Catalog Distribution: (CA-AS) |
Fall. |
| MUSIC 2311 |
The Art and Craft of Music Journalism
This workshop in music journalism will sharpen your prose, your mind, and your tongue. We'll read the work of great journalists of the past and present who've written ardently and unforgettably about music— Joseph Addison, Hector Berlioz, Robert Schumann, George Bernard Shaw, Paul Griffiths, Greil Marcus, Stanley Crouch, and Alex Ross, among others. Thus inspired, we'll dive into the vibrant musical scene of Cornell and beyond, each participant writing weekly pieces for the class blog, whose title and format will be determined by class members. In the course of the semester each student will accumulate a substantial portfolio of journalism, and stroke a love of writing about music. Catalog Distribution: (LA-AS, ALC-AS) Full details for MUSIC 2311 - The Art and Craft of Music Journalism |
Fall. |
| MUSIC 2341 |
Gamelan in Indonesian History and Cultures
This course combines hands-on instruction in gamelan, Indonesia's most prominent form of traditional music, and the academic study of the broader range of music found in contemporary Indonesia, including Western-oriented and hybrid popular forms. Students thus engage with music directly, and use it as a lens to examine the myriad social and cultural forces that shape it, and that are shaped by it. Catalog Distribution: (LA-AS, ALC-AS) Full details for MUSIC 2341 - Gamelan in Indonesian History and Cultures |
Fall. |
| MUSIC 3112 |
Jazz Improvisation and Theory II
Continuation of jazz theory, technique, and applied skills. Catalog Distribution: (LA-AS, ALC-AS) Full details for MUSIC 3112 - Jazz Improvisation and Theory II |
Fall. |
| MUSIC 3115 |
Jazz Piano
An introduction to jazz keyboard technique, including reading chord symbols, comping, bass line construction, and soloing. This course is primarily intended for jazz instrumentalist with little or no keyboard experience and pianists with little or no jazz experience. Catalog Distribution: (LA-AS) |
Fall. |
| MUSIC 3141 |
The Composer's Toolbox I
The Composer's Toolbox is a two-semester sequence of courses that equips undergraduates with the skills and techniques they need to write music in a variety of styles and idioms, both tonal and otherwise. While a modicum of theoretical knowledge is required, the emphasis throughout the sequence is on the practical applications of that knowledge via both composition and the analysis of repertoire: students will learn through doing. The first semester of the sequence focuses on harmony and counterpoint, which can also be understood in terms of verticality and horizontality. Topics will include the ordering of these dimensions via various methods, including intervallic criteria and set theory. Students will learn how to analyze smaller forms and how to assemble phrases, from the smallest module to extended melodies. By the end of the semester, students will have become closely acquainted with representative examples of musical repertoire from the eighteenth century to the present day. They will also have composed a small-scale piece for chamber ensemble, which will be performed live in class. Along the way, they will learn how to notate their music digitally (via the software Sibelius). Catalog Distribution: (LA-AS, ALC-AS) |
Fall. |
| MUSIC 3431 |
Sound Design
Covering the basics of digital audio, bioacoustics, psychoacoustics and sound design, as they apply to theatre, film and music production. Students create soundscapes for text and moving image using ProTools software. Catalog Distribution: (LA-AS, ALC-AS) |
Fall, Spring. |
| MUSIC 3435 | Design, Creation and Operation of Systems for Sound Playback |
|
| MUSIC 3511 |
Individual Instruction
Individual instruction in voice, organ, harpsichord, piano and fortepiano, violin, viola, cello, percussion, and some brass and woodwind instruments to those students advanced enough to do college-level work in these instruments. For more information about individual instruction, see the section titled Musical Instruction. |
Fall, Spring. |
| MUSIC 3512 |
Individual Instruction
Individual instruction in voice, organ, harpsichord, piano and fortepiano, violin, viola, cello, percussion, and some brass and woodwind instruments to those students advanced enough to do college-level work in these instruments. For more information about individual instruction, see the section titled Musical Instruction. |
Fall, Spring. |
| MUSIC 3513 |
Individual Instruction
Individual instruction in voice, organ, harpsichord, piano and fortepiano, violin, viola, cello, percussion, and some brass and woodwind instruments to those students advanced enough to do college-level work in these instruments. For more information about individual instruction, see the section titled Musical Instruction. |
Fall, Spring. |
| MUSIC 3514 |
Individual Instruction
Individual instruction in voice, organ, harpsichord, piano and fortepiano, violin, viola, cello, percussion, and some brass and woodwind instruments to those students advanced enough to do college-level work in these instruments. For more information about individual instruction, see the section titled Musical Instruction. |
Fall, Spring. |
| MUSIC 3602 |
Chorus
A nationally renowned treble-voice chorus specializing in music for sopranos and altos. Tours and records annually. The Chorus frequently combines with the Glee Club to work on mixed-voice repertoire and major works. |
Fall, Spring. |
| MUSIC 3603 |
Glee Club
A nationally renowned tenor-bass ensemble specializing in choral music for lower voices. Tours and records annually. The Glee Club frequently combines with the Chorus to work on mixed-voice repertoire and major works. |
Fall, Spring. |
| MUSIC 3604 |
Chorale
A course for singers wishing to develop their musicianship, sight-reading, and vocal technique. The Chorale may occasionally perform publicly but is more focused on the development of essential skills to a high level, preparing students for further singing in a cappella groups, the Chorus, the Glee Club, or the Chamber Singers. |
Fall, Spring. |
| MUSIC 3610 |
Cornell Gamelan Ensemble
Study and performance mostly of traditional Javanese gamelan music. Group rehearsal once a week in preparation for one concert. Individual instruction is offered as necessary; those wishing to learn advanced techniques should also enroll in MUSIC 4641. |
Fall, Spring. |
| MUSIC 3613 |
Cornell Steel Band
The Cornell Steel Band explores the wide variety of music for an orchestra of instruments fashioned from 55-gallon oil drums, and an "engine room" of non-pitched percussion. Interwoven into the focus on hands-on practice is reflection on the meanings of steel band, historically and in the present, in its native Trinidad and Tobago and here in the United States. Formal musical training is not necessary, though a sense of rhythm and a good ear are helpful. |
Fall, Spring. |
| MUSIC 3616 |
Cornell Hip-Hop Collective
This course is open to experienced rappers, beatmakers, and vocalists interested forging collaborative relationships with other students. The fall semester will center on hip-hop's relationship to social justice. From the beginning of the semester, we will work together to plan and record a thematic album. As we develop this project, we will construct and analyze playlists that explore how hip-hop historically grew out of racialized struggle and how it is and could be used to comment on and challenge systemic racism today. We will identify and employ hip-hop compositional strategies for creating socially engaged beats and rhymes, including musical sampling and lyrical intertextuality, and will use these tools to create and workshop collaborative tracks in weekly meetings. Spring semester topic: TBD. |
Fall, spring. |
| MUSIC 3621 |
Cornell Symphony Orchestra
Study and performance of a broad repertoire of orchestral works from Beethoven to the present. |
Fall, Spring. |
| MUSIC 3631 |
Cornell Wind Symphony
The Cornell Wind Symphony unites student musicians in an ensemble dedicated to the study and performance of emerging and traditional wind repertoire. The Cornell Wind Symphony unites student musicians in an ensemble dedicated to the study and performance of emerging and traditional wind repertoire. In Spring 2021, the Wind Symphony will likely make music in both in-person and remote settings. Full details and audition instructions will be posted on www.cuwinds.com as they become available. |
Fall, Spring. |
| MUSIC 3634 |
Cornell Percussion Group
The Cornell Percussion Group explores and performs un-conducted chamber music of the rapidly expanding percussion repertoire. The Group takes advantage of the stylistic and sonic breadth that the relatively young medium of percussion chamber music engenders, performing music that ranges from classics of the percussive canon from composers such as John Cage and Iannis Xenakis, to collaborations with composers on new repertoire. Members of CPG will develop their percussive technique and collaborative musical skills through the study of a diverse array of un-conducted percussion chamber works and mixed chamber ensemble pieces. Prior experience with percussion instruments is required, and participants must meet with the instructor for a short audition before enrolling. |
Fall, Spring. |
| MUSIC 3660 |
Music Improvisation Ensemble
The Music Improvisation Ensemble provides students with the opportunity to explore the elements of music from an improviser's perspective. Fall 2020, we'll meet the particular challenges of the pandemic through innovative and exciting programming. The first half of the semester, we'll explore unique outdoor acoustic environments across campus in socially distant group improvisation. The second half of the semester, we'll explore improvisation through text pieces. The semester will culminate in a virtual performance made available to the public on the internet. This ensemble is open to any level of musician. An audition is required at the beginning of the semester simply as a means of introduction. Please contact instructor Annie Lewandowski for more information: apl72@cornell.edu |
Fall, Spring. |
| MUSIC 3701 |
Performing Chamber Wind Music
This course unites student musicians in an ensemble dedicated to the study and performance of emerging and traditional wind repertoire. Instruction will begin in person, and transition to online instruction in mid-October. Full details and audition instructions available on www.cuwinds.com. |
Fall. |
| MUSIC 3901 |
Supplemental Study in Music
Intended primarily for music majors, this option allows students enrolled in an approved 1000- or 2000-level 3-credit music history course to pursue independent research and writing projects. Students will study various topics in music history at a more advanced level through supplementary reading, discussion, and writing, by arrangement with the professor. |
Fall, Spring. |
| MUSIC 3902 |
Supplemental Study in Choral Musicianship
A one-semester musical orientation for new members of the Chorus and Glee Club, helping them adjust to the greater demands of musicianship and vocal technique in those ensembles. Topics covered include interval training, tonal centering, rhythm reading, speeding up the translation of notation, vocal technique, warmup exercises, common choralmarkings, following a conductor, and so on. Techniques covered in the class will be put into practice by learning some of the common repertoire that each ensemble has sung for generations, forming a bond with alumni. Full details for MUSIC 3902 - Supplemental Study in Choral Musicianship |
Fall. |
| MUSIC 4181 |
Psychology of Music
Covers the major topics in the psychology of music treated from a scientific perspective. Presents recent developments in the cognitive science of music, including perception and memory for pitch and rhythm, performing music, the relationship between music and language, musical abilities in infants, emotional responses, and the cognitive neuroscience of music. Catalog Distribution: (KCM-AS, SSC-AS) |
Fall. |
| MUSIC 4224 |
Mozart in Context
Contexts for studying icon Mozart are limitless: the man himself, as son, husband, father, student, teacher, entrepreneur, pianist, conductor and thinker; his music as it is to us, to his contemporaries, to his posterity; the music, politics and culture of the society in which he lived—to name a few. While the seminar investigates such matters, students will develop individual research projects to present at the end of the semester and write up as a formal papers. Their research will exploit Cornell's remarkable resources in the Cox Library of Music & Dance, Kroch Library, the Center for Historical Keyboards, and faculty members in adjacent departments. MUSIC 4224 meets bi-weekly, once on its own and once jointly with MUSIC 6224. Catalog Distribution: (CA-AS, ALC-AS, HST-AS) |
Fall. |
| MUSIC 4250 |
The Album
What was the album? Does it still exist? The 2-sided, 40-minute collection of recorded tracks became the dominant mode of consuming popular music from the mid-1960s until the rise of digital CDs in 1980. During this time, the album transformed from a format to a genre in its own right. In this seminar we will study the various species of record albums in the period – the concept album, live and greatest hits albums, spoken word recordings, posthumous releases, and novelty records — as we study the aesthetics and sociology of this key cultural form. In addition to questions of music and commerce, we will consider the way LPs structured time, forms of record collecting, and the visual and tactile experiences which accompanied the playing of records. Catalog Distribution: (CA-AS, ALC-AS) |
Fall. |
| MUSIC 4354 |
Race, Gender, Sexuality, and the Voice
Having a voice is often seen as a central metaphor for a person's agency. Having a voice allows a person to be heard as well as to speak. Yet, how we speak or sing, and how our voices are heard is socially constructed and varies based on many different identity factors including race, gender, and sexuality. From black opera divas and transgender jazz musicians to lesbian rock singers and cross identity voice over actors, this seminar will explore how to analyze and make meaning out of the use of voices within music and media: materially, culturally, and historically. For additional information visit the Society for the Humanities website. Catalog Distribution: (CA-AS, SCD-AS) Full details for MUSIC 4354 - Race, Gender, Sexuality, and the Voice |
Fall. |
| MUSIC 4501 |
Individual Instruction
Individual instruction in voice, organ, harpsichord, piano and fortepiano, violin, viola, cello, percussion, and some brass and woodwind instruments to those students advanced enough to do college-level work in these instruments. For more information about individual instruction, see the section titled Musical Instruction. |
Fall, Spring. |
| MUSIC 4601 |
Chamber Singers
A mixed-voice chamber choir for students with outstanding sight-reading skills and considerable choral experience. Aims to rehearse at a professional level. |
Fall, Spring. |
| MUSIC 4616 |
Jazz Combos
Study and performance of classic and contemporary small-group jazz. |
Fall, Spring. |
| MUSIC 4631 |
Chamber Flute Ensemble
Small ensembles meet weekly to explore diverse flute repertoire including a variety of instrumentation (piccolo, alto flute, bass flute). There will be a performance opportunity at the end of the semester on a chamber concert or in a studio class setting. |
Fall, Spring. |
| MUSIC 4641 |
Advanced Instruction in Gamelan
Concentrated instruction for students in advanced techniques of performance on Indonesian gamelan instruments. Full details for MUSIC 4641 - Advanced Instruction in Gamelan |
Fall, Spring. |
| MUSIC 4651 |
Chamber Music Ensemble
Study and performance of chamber music works from duos to octets, for pianists, string, and wind players. |
Fall, Spring. |
| MUSIC 4901 |
Independent Study in Music
Independent study affords students the opportunity to pursue special interests or research not treated in regularly scheduled courses. A faculty member, who becomes the student's instructor for the independent course, must approve the proposed study and agree to provide continuing supervision of the work. Students must prepare a proposal for independent study. To apply for independent study, please complete the online form. Undergraduate student and faculty advisor to determine course of study and credit hours. |
Fall or Spring. |
| MUSIC 4911 |
Honors in Music
First semester of the two semester honors program. In conjunction with faculty, selected candidates formulate a program that allows them to demonstrate their musical and scholarly abilities, culminating in an honors thesis, composition, or recital (or some combination of these), to be presented in their senior year. |
Multi-semester course: (Fall, Spring). |
| MUSIC 6201 |
Research and Critical Methodologies
This course explores two necessary components for advanced study and research in the discipline of music: 1) practicalities of research, including concepts, methodologies, and tools, which introduces students to social constructions of knowledge and how it is managed by libraries and archives, as well as many types of bibliographic tools, both printed and electronic; 2) critical approaches and theories of music, sound, performance, and cultural meaning, which introduces the students to key disciplinary and interdisciplinary intellectual movements and scholarly works. Full details for MUSIC 6201 - Research and Critical Methodologies |
Fall. |
| MUSIC 6224 |
Mozart in Context
Contexts for studying icon Mozart are limitless: the man himself, as son, husband, father, student, teacher, entrepreneur, pianist, conductor and thinker; his music as it is to us, to his contemporaries, to his posterity; the music, politics and culture of the society in which he lived—to name a few. While the seminar investigates such matters, students will develop individual research projects to present at the end of the semester and write up as a formal papers. Their research will exploit Cornell's remarkable resources in the Cox Library of Music & Dance, Kroch Library, the Center for Historical Keyboards, and faculty members in adjacent departments. MUSIC 4224 meets bi-weekly, once on its own and once jointly with MUSIC 6224. |
Fall. |
| MUSIC 6250 |
The Album
What was the album? Does it still exist? The 2-sided, 40-minute collection of recorded tracks became the dominant mode of consuming popular music from the mid-1960s until the rise of digital CDs in 1980. During this time, the album transformed from a format to a genre in its own right. In this seminar we will study the various species of record albums in the period – the concept album, live and greatest hits albums, spoken word recordings, posthumous releases, and novelty records — as we study the aesthetics and sociology of this key cultural form. In addition to questions of music and commerce, we will consider the way LPs structured time, forms of record collecting, and the visual and tactile experiences which accompanied the playing of records. |
Fall. |
| MUSIC 6354 |
Race, Gender, Sexuality, and the Voice
Having a voice is often seen as a central metaphor for a person's agency. Having a voice allows a person to be heard as well as to speak. Yet, how we speak or sing, and how our voices are heard is socially constructed and varies based on many different identity factors including race, gender, and sexuality. From black opera divas and transgender jazz musicians to lesbian rock singers and cross identity voice over actors, this seminar will explore how to analyze and make meaning out of the use of voices within music and media: materially, culturally, and historically. For additional information visit the Society for the Humanities website. Full details for MUSIC 6354 - Race, Gender, Sexuality, and the Voice |
Fall. |
| MUSIC 7111 |
Composition
A course for graduate or advanced undergraduate composers (by permission with a portfolio audition) seeking individual music composition instruction, the course combines one-on-one meetings with group seminars featuring workshops, master classes, and/or visiting guests. In addition to individual and group meetings, composers may have opportunities for the reading and/or performance of their work. |
Fall, Spring. |
| MUSIC 7323 |
History of Sound Art
Practices associated with sound art can be found throughout the global twentieth century, but it emerged as a curatorial and discursive concept around 1980. In this seminar, we will trace the genealogy of this moment, comparing sound art's uneven historical development with various attempts at definition that have appeared in scholarship of the last fifteen years. Although many commentators have advanced an ontological definition of sound art, we will note the concept's instability and adopt a historiographical perspective on this ambiguity. We will pay particular attention to the anxiety that shadows the line between sound art and music, and we will compare sound art with other new curatorial concepts of the 1970s, such as video and performance. |
Fall. |
| MUSIC 7334 |
Issues in Ethnomusicology
This class provides a forum for students studying ethnomusicology or musical topics in other fields to engage recent literature that reflects the current theoretical preoccupations of the discipline. Topics will include: sound studies; affect; decolonial methods; race and ethnicity; gender, sexuality, and the erotic; conflict and disaster, and; posthumanism, interspecies work, and climate change. Focusing on critical reading skills, we will study 2-3 articles or chapters per session, with short weekly responses and a final bibliography comprising the primary writing component of the class. Regular attendance and active participation are required. |
Fall. |
| MUSIC 7420 |
Composing Networks
What does it mean to be a composer today? Composer's Network aims to connect socially distanced composers, artists, ensembles, instrument makers, curators, festival directors, philosophers, project and residency programs coordinators and scholars with students at home from all over the world. |
Fall. |
| MUSIC 7901 |
Independent Study in Music
Independent study affords students the opportunity to pursue special interests or research not treated in regularly scheduled courses. A faculty member, who becomes the student's instructor for the independent course, must approve the proposed study and agree to provide continuing supervision of the work. |
Fall, Spring. |