Arranging 1 | |
| Course Number: | AR-111 |
| Credits: | 2 |
| Prerequisites: | PW-111, or PW-110 and HR-111, or satisfactory placement score |
| Course Chair: | Matthew Nicholl |
| Required of: | All |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | A study of the musical concepts of melody, rhythm, harmony, and form as applied to the principles and techniques of writing and arranging for the rhythm section (drums, bass, guitar, keyboards, basic percussion) and a lead-line for a solo instrument, two horns (trumpet plus alto or tenor saxophone), or voice. Focus on the conceptual process of combining individual components to create a musically satisfying arrangement. Exploration of the use and integration of MIDI technology and sequencing as they relate to rhythm section and lead-line writing. Study of various contemporary musical styles and musical concepts that comprise them, including writing from the "bottom up" (groove-driven) and "top down" (working with a melody in a lead instrument or voice). Writing assignments will incorporate combinations of acoustic, electronic, and MIDI instruments. |
Arranging 2 | |
| Course Number: | AR-112 |
| Credits: | 2 |
| Prerequisites: | AR-111 and HR-112 |
| Course Chair: | Matthew Nicholl |
| Required of: | CWPR and JCMP majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Study of the properties of the trumpet, alto saxophone, tenor saxophone, trombone, and baritone saxophone, and the writing/arranging processes of standard and spread voicings, approach techniques, melodic embellishment, and guide tone backgrounds. Focus is on applying the writing processes to soli and background writing for two-, three-, four-, and five-part combinations of these instruments. It is recommended that CW-171 be taken by CWPR majors prior to enrolling in AR-112. |
Chord Scale Voicings for Arranging | |
| Course Number: | AR-201 |
| Credits: | 2 |
| Prerequisites: | AR-112 and HR-211 |
| Course Chair: | Ken Pullig |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Five- and six-part writing for instruments. Application of voicings in seconds, thirds, and fourths. Upper-structure triads, clusters, and other nonmechanical voicings derived from chord scales. Extensive score analysis. |
Music Preparation 1 | |
| Course Number: | AR-203 |
| Credits: | 2 |
| Prerequisites: | AR-111 |
| Course Chair: | Ken Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Skills, tools, and techniques used in handwritten notation, including score layout and part design and layout as used in the professional music environment. Special problems, including divisi parts, vocal parts, multistave parts, master rhythm parts, and copying from a sketch. Use of a calligraphy pen and other specialized equipment and supplies used by professional music copyists. |
Survey of Jazz Composition and Arranging | |
| Course Number: | AR-228 |
| Credits: | 2 |
| Prerequisites: | None |
| Course Chair: | Ken Pullig |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | A comprehensive study of the evolution of jazz arranging and composition from the 1920s to the present. Score analysis of representative works by Fletcher Henderson, Duke Ellington, Gil Evans, Thad Jones, and others. Extensive listening. Written arrangements not required. |
Scoring for Instrumental Ensembles in the Secondary School | |
| Course Number: | AR-313 |
| Credits: | 2 |
| Prerequisites: | CM-212 or both CM-252 and CP-212 |
| Course Chair: | Cecil Adderley |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall Only |
| Description: | Orchestration for wind, string, and percussion groups as used at the secondary school level. Principles of score layout/arranging for concert band and high school orchestra. |
Arranging for Secondary Vocal Ensemble | |
| Course Number: | AR-314 |
| Credits: | 2 |
| Prerequisites: | CM-212 or CM-252 |
| Course Chair: | Cecil Adderley |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring Only |
| Description: | Arranging for high school vocal groups. Principles of part-writing for various combinations of voices. Writing piano accompaniments. End-of-semester arranging project required. |
Arranging for High School Jazz Ensemble | |
| Course Number: | AR-316 |
| Credits: | 2 |
| Prerequisites: | AR-112 |
| Course Chair: | Cecil Adderley |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | Principles of writing for high school jazz ensembles with standard and mixed instrumentation. Range problems, rhythm section parts, special considerations for high school musicians. Examination of published scores. |
Contemporary Arranging and Composition | |
| Course Number: | AR-321 |
| Credits: | 2 |
| Prerequisites: | CM-371 |
| Course Chair: | Ken Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | Development of individual writing creativity. Emphasis on the building of confidence in writing clear, memorable lead lines based on standard song forms. Discussions on the relationship of speech patterns to melody. Individual conferences with the instructor when necessary. Written projects required. |
Arranging for Contemporary Jazz Ensemble | |
| Course Number: | AR-328 |
| Credits: | 2 |
| Prerequisites: | AR-201 and HR-212 |
| Course Chair: | Ken Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall |
| Description: | The arranging of original tunes combining both traditional jazz techniques and contemporary compositional concepts. Analysis of taped examples. |
Big Band Arranging and Score Analysis | |
| Course Number: | AR-331 |
| Credits: | 2 |
| Prerequisites: | AR-201, AR-228, and HR-212 |
| Course Chair: | Ken Pullig |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Methodology of big band arranging. Analysis of scores by classic and contemporary big band arrangers. Library assignments and class discussion. Written arrangements and score analysis projects required. |
Jazz Arranging for Small Ensemble | |
| Course Number: | AR-340 |
| Credits: | 2 |
| Prerequisites: | AR-201 |
| Course Chair: | Ken Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Jazz arranging techniques for the rhythm section and various small-group instrumental combinations of up to three horns (melodic voices). Emphasis on developing complete rhythm section sound (with or without winds) and advanced voicing techniques (including interval-based voicings, linear approach techniques, and constant structure). |
Advanced Jazz Arranging for Large Ensemble | |
| Course Number: | AR-407 |
| Credits: | 2 |
| Prerequisites: | Written approval of course chair |
| Course Chair: | Ken Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Extended applications of standard big band scoring techniques. Analysis of devices found in the compositions of major jazz writers. |
Tonal Harmony and Composition 1 | |
| Course Number: | CM-211 |
| Credits: | 2 |
| Prerequisites: | PW-111 or HR-111 and either AR-111 or PW-110 |
| Course Chair: | Greg Fritze |
| Required of: | Degree - all except MUED majors; Diploma - COMP and FILM majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Functional tonal harmony analyzed and composed in various musical textures. Emphasis on voice leading, melodic writing, and figured bass. |
Tonal Harmony and Composition 2 | |
| Course Number: | CM-212 |
| Credits: | 2 |
| Prerequisites: | CM-211 and CP-210 or CP-211 |
| Course Chair: | Greg Fritze |
| Required of: | Degree - all except MUED majors; Diploma - COMP and FILM majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Continuation of CM-211. Advanced tonal harmony and intermediate compositional procedures. Emphasis on harmonies with sevenths, other upper extensions, chromatic alterations as well as modulation. |
Techniques of Tonal Writing | |
| Course Number: | CM-221 |
| Credits: | 2 |
| Prerequisites: | CM-212, and CP-210 or CP-212 |
| Course Chair: | Greg Fritze |
| Required of: | FILM majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Specific techniques of traditional tonal composition. Conclusive and nonconclusive phrases; antecedent-consequent phrase relationships; open-ended phrase relationships; sequencing; modulation; large-scale tonal relationships; thematic variation and development. Application of these techniques in writing, using models from the classical period. |
The Russian Art of Modulation | |
| Course Number: | CM-227 |
| Credits: | 2 |
| Prerequisites: | CM-212, and CP-210 or CP-212 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall |
| Description: | During this course the students will explore and master the technique of modulation to the keys both closely related and distant. Using the concepts of "three degrees of kinship between keys" and the major-minor (minor-major) systems, the students will acquire the skill of gradual modulation as well as sudden modulation, as it was taught in Russia. This practical/theoretical approach will both contrast and compliment current methods of handling this more advanced area of harmony, and will thus bring about for the student additional practical applications of these concepts. |
Instrumentation and Score Preparation | |
| Course Number: | CM-231 |
| Credits: | 2 |
| Prerequisites: | CM-212 |
| Course Chair: | Greg Fritze |
| Required of: | COMP and FILM majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | The technical aspects involved in creating finished, professional scores. Score layout; instrumental/vocal ranges and performance characteristics; special playing techniques and limitations; breath and bowing considerations; choice of key, meter, beat, and subdivision values; use of slurs, articulation marks, dynamics, tempo variation, and other devices for indicating expressive nuance; proper underlaying of vocal text; calligraphy; creating a practical piano reduction; and extracting parts. |
Traditional Materials and Structure of Music 1 | |
| Course Number: | CM-251 |
| Credits: | 2 |
| Prerequisites: | PW-111 or HR-111 and either AR-111 or PW-110 |
| Course Chair: | Greg Fritze |
| Required of: | MUED majors |
| Electable by: | MUED majors |
| Offered: | Fall, Spring, Summer |
| Description: | Diatonic harmonic analysis in various musical textures. Melody writing. Harmonization of melodies in various musical textures. |
Traditional Materials and Structure of Music 2 | |
| Course Number: | CM-252 |
| Credits: | 2 |
| Prerequisites: | CM-251 and CP-210 or CP-211 |
| Course Chair: | Greg Fritze |
| Required of: | MUED majors |
| Electable by: | MUED majors |
| Offered: | Fall, Spring, Summer |
| Description: | Continuation of CM-251. Advanced traditional harmony and intermediate compositional procedures. Seventh chords, altered chords, modulation. |
Contemporary Techniques in Composition 1 | |
| Course Number: | CM-311 |
| Credits: | 2 |
| Prerequisites: | CM-397 and either COND-211, COND-216, or COND-221 |
| Course Chair: | Greg Fritze |
| Required of: | COMP and FILM majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Specific techniques of traditional 20th-century composition. Technical devices such as quartal harmony, serial writing, polytonality, and contrapuntal techniques. Assignments are directly related to each of these aspects of composition and are performed in class. |
Contemporary Techniques in Composition 2 | |
| Course Number: | CM-312 |
| Credits: | 2 |
| Prerequisites: | CM-311 and COND-211 or COND-216 |
| Course Chair: | Greg Fritze |
| Required of: | COMP majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | The continuation of CM-311 with concentration on the employment of serial approaches to composition. Various composition assignments and a final project are required. |
New Music Composition and Performance Workshop | |
| Course Number: | CM-318 |
| Credits: | 2 |
| Prerequisites: | ET-111 and HR-111 or PW-111 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | The workshop provides opportunities for student composers to hear performances of their own work, and for student performers to gain public performing experience of original student works and works written within the last 60 years. Important works of the 20th century are explored. It is advisable, but not required, for students to have taken LHAN-261 prior to enrolling in this course. This course can be repeated for credit. |
Scoring for Strings | |
| Course Number: | CM-341 |
| Credits: | 2 |
| Prerequisites: | CM-212 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Discussion of string instruments, their special effects, and proper notation. Principles of string orchestration and voicing techniques. |
Jazz Fusion Composition and Arranging for Small Ensemble | |
| Course Number: | CM-345 |
| Credits: | 2 |
| Prerequisites: | HR-212 |
| Course Chair: | Ken Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Through the study of major artists and recordings, the student will identify the compositional and instrumental practices of the jazz fusion idiom and apply those to writing assignments and projects. Jazz fusion is looked at broadly and may include a variety of idiomatic 20th-century world music and popular music techniques. The course does not follow a particular methodology, but rather encourages the student to find his/her own voice within the genre. The class begins with a historical survey of the jazz fusion idiom starting with Miles Davis's landmark Bitches Brew recording and continues with the music of the alumni of Davis' influential bands, up to today. As students apply techniques and ideas learned, they will gain perspective as to how jazz fusion is part of music as a whole and examine some of the underlying principles that make for good composition. A special section of the course will be dedicated to introducing students to some fundamentals of Indian ragas (scales) and to Konnikol (Indian rhythmic solfege) and their application to contemporary jazz-fusion composition. Groups such as Shakti, Miles From India, Trilok Gurtu, The Marc Rossi Group, and others have brought this information to the forefront, and it is helping to redefine jazz fusion. |
Choral Composition | |
| Course Number: | CM-351 |
| Credits: | 2 |
| Prerequisites: | CM-212 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Traditional scoring techniques for full chorus with and without instrumental accompaniment. A choral composition in a traditional style is required as a final project. |
Principles and Techniques of Writing for the Voice | |
| Course Number: | CM-355 |
| Credits: | 2 |
| Prerequisites: | CM-212, and CP-210 or CP-212 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Examination of representative solo vocal works from the 19th and 20th centuries (including works requiring nontraditional vocal techniques), with emphasis on dramatic organization, relationship of music to text, and appropriateness to the capacity of the trained singing voice. Special attention given to principles of vocal technique and speech articulation as they apply to composition, principles of vocal notation, and considerations of opera and musical theater. Students will be expected to write specified vocal passages based on assigned texts as well as participate in some improvisation and dramatic reading of texts in class. |
Introduction to Electroacoustic Music for Composers | |
| Course Number: | CM-357 |
| Credits: | 2 |
| Prerequisites: | None |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | Introduction to Electroacoustic Music for Composers is a survey course in electronic and computer music composition. Designed especially for students on Berklee composition tracks, the course is suitable for any student wishing to gain a comprehensive overview of the history and techniques of electronic music while learning to compose at the computer for works for electronics alone or in combination with live instruments. |
World Music Resources in Composition | |
| Course Number: | CM-361 |
| Credits: | 2 |
| Prerequisites: | AR-111, HR-211, and one of the following: CM-311, ILPH-351, ILPH-357, LHAN-345, LHAN-346, or PSW-351 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Approaches to composition using ideas and aesthetic principles from a variety of non-Western musical traditions. Explorations of diverse concepts of rhythm, melody, timbre, and form as heard in the music of Africa, Asia, India, and South America. Assignments will include a substantial composition illustrating these principles. |
Jazz Composition 1 | |
| Course Number: | CM-371 |
| Credits: | 2 |
| Prerequisites: | AR-201 |
| Course Chair: | Ken Pullig |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | A systematic approach to the art of composing in the jazz idiom. Exploration of melodic, harmonic, and rhythmic principles. Standard jazz song form. Analysis of jazz standards. Arranging considerations applied as a means of enhancing a composition. Projects for small jazz group required. |
Jazz Composition 2 | |
| Course Number: | CM-373 |
| Credits: | 2 |
| Prerequisites: | CM-371 |
| Course Chair: | Ken Pullig |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Composition of non-song-form jazz pieces based on motivic development. Discussion of form and content as it applies to episodic composition in jazz. Examination of representative works by various jazz composers. Various assignments and the composition of an episodic five-minute piece are required. |
Jazz Composition 3 | |
| Course Number: | CM-375 |
| Credits: | 2 |
| Prerequisites: | AR-331 and CM-373 |
| Course Chair: | Ken Pullig |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Composition of multisection extended jazz compositions. Discussion of form and orchestration as it applies to extended composition in jazz. Examination of representative works by various jazz composers. Composition of a short chamber piece without rhythm section and a large-scale ten-minute piece are required. |
Post Bebop Harmonic Innovations | |
| Course Number: | CM-385 |
| Credits: | 2 |
| Prerequisites: | HR-325 |
| Course Chair: | Ken Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Survey and analysis of music growing out of the bebop jazz era. Extensive study of John Coltrane, Miles Davis, Wayne Shorter, and Thelonious Monk. Discussion of blues forms and modal harmony used in the 1960s. Application of concepts through composition of original music. |
Directed Study in Small Forms 1 | |
| Course Number: | CM-397 |
| Credits: | 2 |
| Prerequisites: | CM-212 |
| Course Chair: | Greg Fritze |
| Required of: | COMP majors |
| Electable by: | COMP majors |
| Offered: | Fall, Spring, Summer |
| Description: | Students will take a half-hour private lesson with a composition teacher each week. The teacher will work with the students on the basics of composition, including conclusive and nonconclusive phrases; antecedent-consequent phrase relationships; open-ended phrase relationships; sequencing; modulation; large-scale tonal relationships; and thematic variation and development. Application of these techniques will be the basis in writing compositions, using models from the classical period. These basic compositional techniques may be expanded to include more advanced concepts, as determined by the composition professor according to the student's composition background. In addition to the weekly half-hour private lesson, the student will attend the Composition Seminar (1.5 hours) along with all of the Directed Study students. |
Directed Study in Small Forms 2 | |
| Course Number: | CM-398 |
| Credits: | 2 |
| Prerequisites: | CM-311 |
| Course Chair: | Greg Fritze |
| Required of: | COMP majors |
| Electable by: | COMP majors |
| Offered: | Fall, Spring, Summer |
| Description: | Individualized instruction in composing small forms (i.e., short instrumental pieces, themes and variations, art songs, single movements of larger works, etc.). Emphasis on developing stylistic diversity and gaining experience in writing for various musical textures and ensemble combinations. |
Serial Techniques as Applied to Jazz Composition | |
| Course Number: | CM-434 |
| Credits: | 2 |
| Prerequisites: | AR-201 and written approval of course chair |
| Course Chair: | Ken Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | Utilization of 12-tone methodology in creating a one-movement concert jazz piece. |
Scoring for Full Orchestra | |
| Course Number: | CM-441 |
| Credits: | 2 |
| Prerequisites: | CM-231 |
| Course Chair: | Greg Fritze |
| Required of: | COMP majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Orchestration techniques for full symphony orchestra. |
Composition Internship | |
| Course Number: | CM-495 |
| Credits: | 2 |
| Prerequisites: | Sixth-semester standing and written approval of course chair |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | COMP majors |
| Offered: | Fall, Spring, Summer |
| Description: | Monitored and evaluated professional work experience in an environment related to the composition major. Placement is limited to situations available from or approved by the Office of Experiential Learning and the Composition Department chair or designee. To apply for an internship, students must see the internship coordinator in the Office of Experiential Learning prior to registering. Note: Equivalent credit for prior experience is not available due to the requirement of concurrent contract between the employer/supervisor and the college. International students in F-1 status must obtain authorization on their Form I-20 from the Counseling and Advising Center prior to beginning an internship. |
Directed Study in Sonata Composition | |
| Course Number: | CM-497 |
| Credits: | 2 |
| Prerequisites: | CM-312 and CM-398 |
| Course Chair: | Greg Fritze |
| Required of: | COMP majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Sonata form. The composition of an extended three-movement sonata for piano or for solo instrument and piano. |
Directed Study in Orchestral Composition | |
| Course Number: | CM-498 |
| Credits: | 2 |
| Prerequisites: | CM-497 |
| Course Chair: | Greg Fritze |
| Required of: | COMP majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | The composition of an extended work for full contemporary orchestra. Intended to demonstrate the ability to handle large orchestral groups in a characteristic and coherent manner. |
Directed Study in Jazz Composition | |
| Course Number: | CM-499 |
| Credits: | 2 |
| Prerequisites: | CM-375 |
| Course Chair: | Ken Pullig |
| Required of: | JCMP majors |
| Electable by: | JCMP majors |
| Offered: | Fall, Spring, Summer |
| Description: | Individualized instruction designed to guide students majoring in jazz composition in the preparation of their graduation projects. |
Guitar Composition Techniques for Performers/Composers | |
| Course Number: | CM-P225 |
| Credits: | 2 |
| Prerequisites: | CM-211 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Intermediate and advanced approach to guitar composition techniques. The course is designed for performers/composers and provides a comprehensive demonstration of the capabilities of the instrument and the most successful ways to compose for it through analysis, live performances, improvisation, and mostly elementary and advanced compositional techniques. Also covers performance techniques, extended compositional approaches (guitar and other instruments), resources and technologies of basic composition techniques, and mainly guitar music of the 20th century and beyond. |
Digital Score Preparation for Composers | |
| Course Number: | CM-P341 |
| Credits: | 2 |
| Prerequisites: | MTEC-111 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | The course will focus on the acquisition of skills with technological tools for the creation of professional composition portfolios. Production of publication-ready scores and parts using Finale® notation software will be emphasized, including nonstandard notation. Basic audio editing will also be presented to create demonstration recordings. |
Indian Music Styles and Techniques for Jazz and Contemporary Composition | |
| Course Number: | CM-P346 |
| Credits: | 2 |
| Prerequisites: | HR-212 |
| Course Chair: | Ken Pullig |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | The class will expose students to and survey the two main Indian classical music systems: Hindustani (North Indian) and Carnatic (South Indian) along with Konnikol (south Indian rhythmic solfege). Selected Indian film music will also be examined. Students will compose, arrange, and create improvisational models using specific Indian music ideas and techniques as a source. |
Introduction to Contemporary Composition | |
| Course Number: | CM-P353 |
| Credits: | 2 |
| Prerequisites: | CM-212, and CP-210 or CP-212 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | Introduction to compositional concepts from the late 20th century with emphasis on students writing original compositions. |
Conducting 1 | |
| Course Number: | COND-211 |
| Credits: | 1 |
| Prerequisites: | ET-211 or ET-231 |
| Course Chair: | Greg Fritze |
| Required of: | Degree - all except MUED majors; Diploma - CWPR, COMP, FILM, and JCMP majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Techniques of conducting vocal and instrumental music. Fundamental beat patterns. Discussion and study of terminology, problems of tempo, phrasing, and articulation. |
Conducting 2 | |
| Course Number: | COND-212 |
| Credits: | 1 |
| Prerequisites: | COND-211 or COND-216 |
| Course Chair: | Greg Fritze |
| Required of: | Degree - all except MUED majors; Diploma - CWPR, COMP, FILM, and JCMP majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | The course assumes basic beat pattern knowledge and covers three areas: (1) symphonic conducting with an instrumental soloist (concerto), (2) symphonic conducting with a vocal soloist (operatic aria), and (3) symphonic conducting of a major modern work involving complete meter changes. Works used include a romantic piano or violin concerto, an operatic excerpt, and a piece such as Petrouchka, The Rite of Spring, or Symphonies of Wind Instruments. |
Conducting 1 with Live Keyboard Ensemble | |
| Course Number: | COND-216 |
| Credits: | 1 |
| Prerequisites: | ET-211 or ET-231 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | COMP and FILM majors |
| Offered: | Fall, Spring |
| Description: | This course emphasizes in-depth score study and elements involved with the formulation of musical ideas, the role of the conductor, and the proper kind of relationship between the conductor and the orchestra. Students gain valuable experience rehearsing and conducting an ensemble. The course utilizes eight keyboards, allowing the formation of an in-class live keyboard ensemble creating a virtual orchestral sound. Each of eight performers play their own individual lines from the score while one person conducts and rehearses the ensemble. Each conductor will be videotaped while in front of the ensemble for further study. |
Conducting 2 with Live Keyboards | |
| Course Number: | COND-217 |
| Credits: | 1 |
| Prerequisites: | COND-211 or COND-216 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | A conducting class class where students conduct other students playing MIDI keyboards that create the sounds of the instruments of an orchestral ensemble. Each student learns all aspects of score preparation and rehearsal techniques. All sessions are recorded for home study. |
Choral Conducting for Music Education Majors | |
| Course Number: | COND-221 |
| Credits: | 2 |
| Prerequisites: | None |
| Course Chair: | Cecil Adderley |
| Required of: | MUED majors; MTHE majors not taking COND-222 |
| Electable by: | MUED and MTHE majors |
| Offered: | Fall, Spring, Summer |
| Description: | Fundamental beat patterns, basic conducting technique, phrasing and articulation, problems of tempo. Discussion and study of terminology. Lab sessions for choral application of classroom skills. Geared to the needs of public school music educators. Emphasis on secondary school repertoire. |
Instrumental Conducting for Music Education Majors | |
| Course Number: | COND-222 |
| Credits: | 2 |
| Prerequisites: | COND-321 or written approval of course chair |
| Course Chair: | Cecil Adderley |
| Required of: | MUED majors; MTHE majors not taking COND-221 |
| Electable by: | MUED and MTHE majors |
| Offered: | Fall, Spring, Summer |
| Description: | Fundamental beat patterns, basic conducting technique, phrasing and articulation, problems of tempo. Discussion and study of score analysis. Lab sessions for instrumental application of classroom skills. Geared to the needs of public school music educators. NOTE: Performance on secondary instrument(s) is required. |
Advanced Conducting Seminar With Live Orchestra | |
| Course Number: | COND-311 |
| Credits: | 2 |
| Prerequisites: | Written approval of instructor and course chair and either COND-351 or COND-498 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | This course is designed for the student who wishes to further abilities in conducting. Emphasis is on rehearsal techniques and interpretation while working with a live orchestral ensemble. |
Choral Rehearsal Techniques for Music Education Majors | |
| Course Number: | COND-321 |
| Credits: | 2 |
| Prerequisites: | COND-221 |
| Course Chair: | Cecil Adderley |
| Required of: | MUED majors |
| Electable by: | MUED majors |
| Offered: | Fall, Spring, Summer |
| Description: | Detailed attention to typical vocal repertoire with extensive analysis and application of rehearsal techniques as they apply to specific public school groups. More advanced lab sessions for application of classroom principles. |
Instrumental Rehearsal Techniques for Music Education Majors | |
| Course Number: | COND-322 |
| Credits: | 2 |
| Prerequisites: | COND-222 |
| Course Chair: | Cecil Adderley |
| Required of: | MUED majors |
| Electable by: | MUED majors |
| Offered: | Fall, Spring, Summer |
| Description: | Detailed attention to typical instrumental repertoire with extensive analysis and application of rehearsal techniques as they apply to specific public school groups. More advanced lab sessions for application of classroom principles. NOTE: Performance on secondary instrument(s) is required. |
Advanced Conductor's Workshop with Live Keyboard Ensemble | |
| Course Number: | COND-351 |
| Credits: | 2 |
| Prerequisites: | COND-212 or COND-217 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | A practical course for conductors and music directors in preparation, organization, rehearsal, and recording under studio conditions. Emphasis on establishing fluency in conducting and rehearsal techniques to maximize efficiency in the session. |
Conducting Small Ensembles | |
| Course Number: | COND-355 |
| Credits: | 2 |
| Prerequisites: | COND-212 or COND-217 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall |
| Description: | This course is designed to give students practical experience in conducting rehearsals of small instrumental groups. Students will expand their conducting technique and deepen their score-preparation skills in class meetings with their colleagues playing MIDI keyboards in preparation for sessions with small ensembles (e.g., brass quintet, flute choir, string quartet, wind quintet); at these sessions themselves, the students will meet the challenges of analog instrumental groups—balance, intonation, rehearsal skills, and conductor-performer relations. |
Conducting for Film and TV Production | |
| Course Number: | COND-361 |
| Credits: | 2 |
| Prerequisites: | COND-212 or COND-217 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Rehearsing and recording to picture with live performers under studio conditions. Focus on preparation, efficiency, and accurate synchronization. |
Conducting for Film and TV Production | |
| Course Number: | COND-361 |
| Credits: | 2 |
| Prerequisites: | COND-351 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Rehearsing and recording to picture with live performers under studio conditions. Focus on preparation, efficiency, and accurate synchronization. |
Advanced Rehearsal Techniques | |
| Course Number: | COND-421 |
| Credits: | 2 |
| Prerequisites: | COND-311 or COND-351 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | An advanced course for conductors in the development of effective technical, musical, and psychological skills, including planning (choice of literature, aesthetic and practical considerations, allotment of rehearsal time); musical preparation (development of interpretation, choice of tempi, stylistic factors, identifying difficult or tricky passages, editing parts for bowing and breathing); rehearsal (pacing, including alternating woodshedding with play-through; balancing dynamics; using effective gestures with the baton, face, left hand, and body; giving effective verbal instructions; intonation; listening and prioritizing; stopping and starting; knowing when to be satisfied); and human factors (mutual respect and honesty, shared responsibility, ensemble esprit de corps, and psychological momentum). |
Directed Study in Conducting | |
| Course Number: | COND-498 |
| Credits: | 2 |
| Prerequisites: | COND-212 or COND-217 and written approval of instructor and course chair |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Supervised preparation and performance of an approved conducting project. Projects may originate with recitalists or from various departments such as Film Scoring, Contemporary Writing and Production, and Music Production and Engineering. The student will conduct at least one project from the following categories: studio recording, recital or live concert requiring a conductor, or preparing and conducting a work with an ensemble. |
Careers in Conducting | |
| Course Number: | COND-P391 |
| Credits: | 2 |
| Prerequisites: | COND-212 or COND-217 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | Presentation and discussion on the topics of what it takes to succeed as a professional conductor in the 21st century. Several topics will be presented throughout the semester, including how to run a recording session, the business aspect of being a conductor, interpersonal responsibilities, management, and planning. Conducting remains one of the music’s elusive professions: why do some succeed while others fail? Following Richard Strauss, we spend our whole lives trying to become better conductors, only to find out at the end of our lives how much more we have to learn. In addition, the financial and managerial aspects of our organizations and of our own careers ought never to be too far from our minds: for in them we occupy the dual roles of senior manager and principal artist. |
The Art of Counterpoint | |
| Course Number: | CP-210 |
| Credits: | 3 |
| Prerequisites: | AR-111, HR-112, ET-112, and CM-211 |
| Course Chair: | Greg Fritze |
| Required of: | All |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | This course will instruct students in the fundamental principles of free counterpoint (i.e., composition with melodic lines) with an emphasis on two-part writing. Through the utilization of a three-pronged focus on principles, literature, and experiential practice, students will complete exercises and projects involving composition and performance within the common-practice period with additional attention to and experience in contemporary tonal practice. |
Tonal Counterpoint 1 | |
| Course Number: | CP-211 |
| Credits: | 2 |
| Prerequisites: | PW-111 or HR-111 and either AR-111 or PW-110 |
| Course Chair: | Greg Fritze |
| Required of: | Degree - all; Diploma - COMP and FILM majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Free counterpoint within a functional tonal context. Emphasis on two-voice writing, binary, and melodic phrase forms. |
Tonal Two-Part Canon and Invention | |
| Course Number: | CP-212 |
| Credits: | 2 |
| Prerequisites: | CP-210 or CP-211 and either CM-211 or CM-251 |
| Course Chair: | Greg Fritze |
| Required of: | Degree - all; Diploma - COMP and FILM majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Continuation of CP-211. A thorough study of canon and two-part invention through analysis and composition within a functional tonal language. |
Art of Counterpoint 2 | |
| Course Number: | CP-215 |
| Credits: | 2 |
| Prerequisites: | CP-210 |
| Course Chair: | Greg Fritze |
| Required of: | COMP, CWPR, and FILM majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | A thorough study of the Two and Three-Part Inventions of J.S. Bach through analysis and composition within a functional tonal language. There will be two projects, a two-part invention and a three-part invention in the style of Bach. |
Advanced Counterpoint | |
| Course Number: | CP-311 |
| Credits: | 2 |
| Prerequisites: | CM-212 and CP-212 |
| Course Chair: | Greg Fritze |
| Required of: | COMP and FILM majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Analysis and writing of three- and four-voice imitative counterpoint based on traditional models. Models include fugue, chorale prelude, and passacaglia or chaconne. |
20th-Century Counterpoint | |
| Course Number: | CP-350 |
| Credits: | 2 |
| Prerequisites: | CM-212, and CP-212 or CP-215 |
| Course Chair: | Greg Fritze |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | The course is based on the examination of different realms of 20th-century counterpoint through the detailed analysis of contrapuntal styles and techniques of leading innovative composers such as Ravel, Stravinsky, Shostakovich, Hindemith, Bartók, Messiaen, Honegger, Barber, and composers of the New Viennese School. More recent stages in the evolution of counterpoint will be studied in examples by Ligeti, Lutoslawsky, Penderecki, Schnittke, and Gubaidulina, as well as contemporary American composers (including Berklee composers). |
Jazz Counterpoint 1 | |
| Course Number: | CP-361 |
| Credits: | 2 |
| Prerequisites: | AR-112 and HR-211 |
| Course Chair: | Ken Pullig |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Study of the process for creating multiline textures in a given melodic and/or harmonic situation. Voice-leading, melodic analysis and embellishment, rhythm, and form. Assigned written projects to emphasize the role of contrapuntal practices in arranging. |
Jazz Counterpoint 2 | |
| Course Number: | CP-362 |
| Credits: | 2 |
| Prerequisites: | CP-361 |
| Course Chair: | Ken Pullig |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Continuation of CP-361. Emphasis on the role that counterpoint plays in jazz composition. |
Hip-Hop Writing and Production | |
| Course Number: | CW-141 |
| Credits: | 2 |
| Prerequisites: | MTEC-111 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | An introduction to writing and production techniques in hip-hop styles. Topics include the social and cultural aspects of hip-hop music as it pertains to the music's origins and early pioneers, the analysis of stylistic and musical characteristics, and instruction in the use of sequencing software in hip-hop production. |
Survey of Pop/Rock Styles | |
| Course Number: | CW-151 |
| Credits: | 2 |
| Prerequisites: | AR-111 and HR-112 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | A study of major pop and rock styles and the writers, producers, and artists who shaped the music, with a focus on the writers and artists inducted into the Rock and Roll Hall of Fame. |
Groove Writing | |
| Course Number: | CW-171 |
| Credits: | 2 |
| Prerequisites: | AR-111, ET-112, HR-112, and MTEC-111 |
| Course Chair: | Matthew Nicholl |
| Required of: | CWPR majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Expanding on the material introduced in AR-111, this course focuses on creating and writing grooves for the rhythm section (guitar, keyboard, bass, percussion, and drums) and the ways in which different grooves work together. Original techniques and practical approaches to creating grooves will be presented, as well as methods to refine and create variations in grooves and scoring with production goals in mind. Styles studied include funk, hip-hop, rock, reggae, and ska; Latin styles, including bossa, samba, salsa, cha-cha, songo, and baion; shuffle, as used in rock, blues, and funk; generic dance grooves such as techno; and pop and Euro-pop. Projects will include transcription, sequencing, and live performance of grooves. |
Music Preparation 2 | |
| Course Number: | CW-205 |
| Credits: | 2 |
| Prerequisites: | AR-203 and PW-161 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | Building on the content of AR-203, this course provides in-depth study of the capabilities of the software program Finale. Course content includes using Metatools, Hyperscribe, Shape Designer, a broader range of editing tools, and practical shortcuts to efficiently create scores and parts of professional quality. Instruction and project work is accomplished in the Professional Writing Division MIDI Lab. |
Writing for Small Ensemble | |
| Course Number: | CW-211 |
| Credits: | 2 |
| Prerequisites: | AR-112, CW-171, and CW-216 |
| Course Chair: | Matthew Nicholl |
| Required of: | CWPR majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Instruction in advanced small group writing concepts that encompasses sophisticated rhythm section scoring and groove writing, including writing for auxiliary percussion; an introduction to writing for voices and strings; background writing for horns, strings, and voices; manipulation of elements of large-scale form and structure; creation of complex, layered textures; and hybrid writing techniques involving sequencing and live players. In addition, the course will focus heavily on score and part preparation. |
Vocal Writing | |
| Course Number: | CW-216 |
| Credits: | 2 |
| Prerequisites: | AR-112, HR-211, and either ET-211 or ET-231 |
| Course Chair: | Matthew Nicholl |
| Required of: | CWPR majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Conceptualizing, writing, and producing vocals; contemporary writing and production techniques for vocal groups of different sizes; working with vocals in live situations versus the recording studio environment; writing background vocals above a band versus a cappella vocal writing. Creating vocal band effects will also be explored. Range considerations, timbre, vocal production, and notation for various size vocal groups; writing and production techniques and considerations for recording studio situations. |
Jingle Writing | |
| Course Number: | CW-218 |
| Credits: | 2 |
| Prerequisites: | AR-111 and HR-211 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Composition of music for radio and television commercials. Emphasis on means of creating suitable product image. Working with, and alteration of, given lyrics. Some lyric writing. Determining proper instrumentations. Timing considerations. |
Writing and Production Techniques in the Pop/Rock Idiom | |
| Course Number: | CW-221 |
| Credits: | 2 |
| Prerequisites: | AR-112 and HR-211 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Techniques of instrumental and vocal writing, arranging, and production in the pop/rock idiom. Includes extensive score analysis of major composers and performers, discussion of stylistic techniques and orchestrations, historical perspective, problem solving, and basic production and programming concerns. The course is designed to guide the student in developing an original pop/rock writing style. |
Introduction to Writing and Production for the Recording Studio | |
| Course Number: | CW-222 |
| Credits: | 2 |
| Prerequisites: | ISKB-212 (non-piano principals), and either CW-261 or SW-361 |
| Course Chair: | Matthew Nicholl |
| Required of: | CWPR majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Emphasis on arranging techniques that apply specifically to recording situations in various contemporary music settings and idioms. Arranger's function, current market trends, and contemporary recording techniques are discussed. |
Writing in Salsa Styles | |
| Course Number: | CW-225 |
| Credits: | 2 |
| Prerequisites: | AR-112 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | A study of rhythmic styles of contemporary salsa music, including characteristics of instrumentation and the unique clave rhythmic pattern. Specific rhythmic styles analyzed will include mambo, son montuno, guajiro, bomba, merengue, and songo, among others. Musical scores of Eddie Palmieri, Juan Luis Guerra, Oscar D'León, Arturo Sandoval, Paquito D'Rivera, and many others will be analyzed. Students will create melodies as well as piano, guitar, bass, and percussion rhythmic patterns; they will write brass instrumental sections using the clave rhythmic pattern. |
Scoring for Percussion | |
| Course Number: | CW-237 |
| Credits: | 2 |
| Prerequisites: | AR-112 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Survey of the mallet, membrane, and accessory groups of the percussion instrument family. Demonstration and discussion of notation, range, techniques, and effects. Scores from Broadway shows and studio, orchestral, chamber, and solo pieces. |
Writing for Woodwinds | |
| Course Number: | CW-247 |
| Credits: | 2 |
| Prerequisites: | AR-112 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | A study of the flute, clarinet, and double reed families based on intensive listening, transcription, live demonstration, and composition. Compositions will include: visual imagery, storytelling, non-Western based concepts and forms, sound exchange, layering sound, and techniques for composition that include improvisation. |
Contemporary Applications of 12-Tone Concepts | |
| Course Number: | CW-255 |
| Credits: | 2 |
| Prerequisites: | ET-212, HR-212, and either AR-112, CP-210 or CP-211 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall |
| Description: | Alternative approaches and concepts to writing that can be used in various aspects of songwriting, arranging, and composing for contemporary broadcast media, such as film and TV scores, that will supplement other writing approaches. Using compositional concepts pioneered by George Tremblay and Jack Smalley, the course explores writing techniques based on the use of the 12-tone row concept and the process of extracting consonant melodic components from the rows that are then applied to writing for contemporary musical styles and forms and commercial clients. Some writing projects will be realized through sequencing and live performance. |
MIDI Applications for the Writer | |
| Course Number: | CW-261 |
| Credits: | 2 |
| Prerequisites: | ISKB-211 (non-piano principals) and PW-161 (CWPR majors), or written approval of course chair (non-CWPR majors) |
| Course Chair: | Matthew Nicholl |
| Required of: | CWPR majors |
| Electable by: | CWPR majors |
| Offered: | Fall, Spring, Summer |
| Description: | The student will learn to utilize digital technology and MIDI to create musical arrangements of both original and existing material using a computer-based music workstation. Projects are designed to simulate real-world writing assignments. Building on skills learned in PW-161, Technology Tools for the Writer, this course will focus on the musical use of technology and basic production aspects of a project, including MIDI and audio signal flow within the hardware of the workstation; virtual signal flow within the software environment; recording, editing, and processing digital audio; advanced sequencing and sequence editing techniques; and file management. In addition to using their own laptops in the Professional Writing Technology Lab, students are expected to have the CWP major bundle. |
Music Production Techniques for Writers | |
| Course Number: | CW-275 |
| Credits: | 2 |
| Prerequisites: | AR-111, HR-211, and CW-261 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall |
| Description: | Viewing music production from the writer's perspective, this course explores how knowledge of compositional elements including melody, harmony, arranging, and orchestration help provide the foundation and focus of contemporary production styles and techniques. Study and analysis of great producer/musicians will include George Martin, Quincy Jones, Phil Spector, Daniel Lanois, Peter Gabriel, Prince, Don Was, Robert John "Mutt" Lange, and others. Focus will be on how producers utilize their background as accomplished musicians to create the "aural landscape" of the artists they produce. Course projects will include analysis papers on different producers in a variety of styles, and one recording project. |
Writing for Large Ensemble 1 | |
| Course Number: | CW-311 |
| Credits: | 2 |
| Prerequisites: | CW-211 |
| Course Chair: | Matthew Nicholl |
| Required of: | CWPR majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | An orchestration/arranging course that focuses on the techniques and concepts of writing for large ensemble. Content also includes the arranging process and how to adapt and modify the musical elements of a composition into an effective arrangement. The course deals with notation, voicings, and combinations of the various sections comprising the large ensemble: trumpets, trombones, saxophones, selected woodwinds, and rhythm section. Extensive use of taped examples and extracts from scores. |
Contemporary Arranging for Strings | |
| Course Number: | CW-343 |
| Credits: | 2 |
| Prerequisites: | HR-212, and either AR-201 or CW-211 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | Arranging for strings behind a vocalist or lead instrument. Emphasis is on contemporary string writing approaches in the styles of rock, Latin, funk, ballads, and jazz, and the feels of even and shuffled eighths and sixteenths for string sections (with rhythm section accompaniment) using specific arranging techniques of closed and open voicings, clusters, three- to six-part writing, use of primary melody and countermelody, and guide tone lines. Production approaches from the writer's perspective are also covered. Projects may include arrangements for live performances, recordings, or commercials. |
Sound Processing Applications for Writers | |
| Course Number: | CW-361 |
| Credits: | 2 |
| Prerequisites: | CW-261 |
| Course Chair: | Matthew Nicholl |
| Required of: | CWPR majors |
| Electable by: | CWPR majors |
| Offered: | Fall, Spring, Summer |
| Description: | This course focuses on the use of sound-processing equipment as it pertains to the writer who engineers and produces his or her own pieces. Through the use of software plug-ins, this course examines the artistic application of ambient devices such as reverbs, delays, flangers, harmonizers, and choruses, and dynamic processing units such as compressors, noise gates, outboard equalization, and limiters. The course also explores how writing can be enhanced in recording and mixing through the effective use of sound-processing equipment. Students will have the opportunity to understand how to enhance their recordings with these effects through in-class demonstration, listening analysis, and assigned projects. In addition to using their own laptop in the Professional Writing technology lab, students are expected to have the CWP major bundle. |
Video Game Scoring Fundamentals | |
| Course Number: | CW-370 |
| Credits: | 2 |
| Prerequisites: | CW-361, FS-361, or EP-371; or written approval of course chair. |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | This course provides students a one-semester overview of approaches to scoring for video games. Beginning with a short history of interactive music, the content includes typical game music workflow and approaches to scoring video games. Assignments include scoring projects using different interactive music techniques. Students will be able to describe the history, theory, mechanisms, and basic approaches to writing music for video games. They will be able to write simple to moderate interactive scores using the most commonly used methods in the industry. In addition students will discuss and learn about specific industry issues related to working in this field. |
Writing for Large Ensemble 2 - Studio Orchestra | |
| Course Number: | CW-411 |
| Credits: | 2 |
| Prerequisites: | CW-311 and completion of the CWP Music Preparation Proficiency |
| Course Chair: | Matthew Nicholl |
| Required of: | CWPR majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | An advanced study of the techniques and concepts of writing/arranging for a studio orchestra. A continuation of CW-210 with the addition of the string section, French horn, tuba, percussion, additional woodwinds, harp, and synthesizer. Emphasis is placed on orchestral combinations, stylistic factors, techniques of scoring melody and accompaniment, sophisticated voicings such as ambichords, writing effective introductions and endings, and routining an arrangement. Extensive use of taped examples and score extracts. |
Advanced Production for Writers | |
| Course Number: | CW-422 |
| Credits: | 2 |
| Prerequisites: | CW-222, CW-311, and CW-361 |
| Course Chair: | Matthew Nicholl |
| Required of: | CWPR majors |
| Electable by: | CWPR majors |
| Offered: | Fall, Spring, Summer |
| Description: | A project-driven course that focuses on production from the writer's perspective. The content includes more advanced creative and production projects, incorporating MIDI sequences using sampled sounds and synth modules with live overdubbing of acoustic instruments, more refined utilization of sound-processing equipment, and conceptualizing with sound-processing ideas in mind. In addition to class meetings, each student will be assigned recording studio time to be used for overdubs, sweetening, and/or mixing. Students will use their own laptop in the Professional Writing technology lab and are expected to have the CWP major bundle. |
Contemporary Orchestration for Digital Audio Workstations | |
| Course Number: | CW-435 |
| Credits: | 2 |
| Prerequisites: | CW-211 and CW-361 |
| Course Chair: | Matthew Nicholl |
| Required of: | CWPR majors |
| Electable by: | CWPR majors |
| Offered: | Fall, Spring |
| Description: | This course covers advanced sequencing and orchestration techniques in the electronic and hybrid realms of production for acoustic ensembles. Its main purpose is to expose and guide students to writing and production of polished and high-quality original compositions for small to large acoustic ensembles through the use of advanced sequencing techniques and electronic tools. Through a detailed survey and hands-on practice of the major software orchestral libraries, the course integrates all the techniques involved in creating electronic and hybrid polished productions for rhythm section, small ensemble, big band, and studio orchestra. Content includes advanced sequencing techniques such as groove quantization, layering, tempo variations, advanced use of MIDI control changes, and alternate MIDI controllers. The students will learn multilayering of acoustic and electronic instruments; translation into the electronic realm of phrasing, articulations, and performance-related markings; controlled detuning; and horizontal/vertical timbre variation. In addition, through a series of original writing assignments for large ensembles and rhythm section, the course will focus on merging the gap between the composition stage and the final electronic production by covering the mixing stage of the hybrid production process focusing in particular on multireverb placement and variable equalization. |
Contemporary Orchestration | |
| Course Number: | CW-445 |
| Credits: | 2 |
| Prerequisites: | CM-231 or CW-411 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall |
| Description: | Exploration of techniques of writing for each orchestral instrument and for various combinations of instruments, unusual orchestral instruments, and special effects many instruments can create. Principles of combining and balancing instruments; comparison between the live orchestral situation and the recording studio environment. Incorporation of ethnic instruments into orchestration; application of orchestral instruments to contemporary settings and styles. Overview of the development of the modern symphonic orchestra and the full orchestra as used in film scores. Live demonstrations of instruments; score listening and analysis. |
Scoring for Advertising | |
| Course Number: | CW-450 |
| Credits: | 2 |
| Prerequisites: | CW-361, EP-322, SW-361, or FS-361 |
| Course Chair: | Matthew Nicholl |
| Required of: | CWPR majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | A study of the creative, technical, production, and business aspects of writing music for visual media, primarily television commercials. Content includes the creative process: reacting to emotion and mood of visuals, supporting the picture with appropriate music, stylistic considerations, compressing/expanding musical ideas, and hitting visual cues. Production aspects include various approaches to shaping the musical product to support the creative direction that has been chosen or provided. Exploration of sound design (incorporation of sound effects into music tracks) and technical aspects of timings, film editing influences, frame-counting, and synchronization. Business aspects: working with producers and directors, taking direction, selling ideas, and general and contractual obligations that modify the creative process. Various projects and assignments in writing music in different moods, styles, and lengths, that support and enhance visuals. Most creative work will be realized at MIDI workstations using a MIDI sequencing program and video software; students must have a strong working knowledge of MIDI systems and sequencing programs. |
Advanced Electronic Composition and Production for the Writer | |
| Course Number: | CW-461 |
| Credits: | 2 |
| Prerequisites: | CW-361 |
| Course Chair: | Matthew Nicholl |
| Required of: | CWPR majors |
| Electable by: | CWPR majors |
| Offered: | Fall, Spring |
| Description: | This course has two purposes: first, to provide the student with the necessary advanced synthesis, sound design, and technology-based creative tools to be competitive in the contemporary electronic writing industry; and second, to enhance and further develop the student's compositional skills in a variety of contemporary music styles with a particular emphasis on electronic genres. Through a detailed and thorough hands-on experience the students will begin studying the basic concepts of analog synthesis, moving on to advanced synthesis techniques such as FM, sampling and physical modeling, all the way up to the most advanced sound design and sound shaping techniques. The course will cover advanced processing methods and effects (such as loop creation/editing/slicing and creative use of EQ, delay, compression, and convolution reverbs etc.) targeted specifically to enhance and improve the production of contemporary electronic music. Topics will be contextualized with precise references to specific contemporary music styles and trends and practically applied by the student to originally composed projects that feature different electronic styles and techniques. Using these concepts and techniques the students will create original compositions based mainly on sounds they have programmed and designed themselves, and by the end of the course they will have an original sound library at their disposal. |
Contemporary Writing and Production Internship | |
| Course Number: | CW-495 |
| Credits: | 2 |
| Prerequisites: | Written approval of course chair |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | CWPR majors |
| Offered: | Fall, Spring, Summer |
| Description: | Monitored and evaluated professional work experience in an environment related to the contemporary writing and production major. Placement is limited to situations available from or approved by the Office of Experiential Learning and the Contemporary Writing and Production Department chair or designee. To apply for an internship, students must see the internship coordinator in the Office of Experiential Learning prior to registering. Note: Equivalent credit for prior experience is not available due to the requirement of concurrent contract between the employer/supervisor and the college.International students in F-1 status must obtain authorization on their Form I-20 from the Counseling and Advising Center prior to beginning an internship. |
Directed Study in Contemporary Writing | |
| Course Number: | CW-498 |
| Credits: | 2 |
| Prerequisites: | CW-311 |
| Course Chair: | Matthew Nicholl |
| Required of: | CWPR majors |
| Electable by: | CWPR majors |
| Offered: | Fall, Spring, Summer |
| Description: | Individualized instruction designed to guide students majoring in contemporary writing and production in the preparation of their graduation projects. Students will be allowed to schedule time in the Professional Writing Division MIDI Lab to meet the portfolio requirements. |
Writing in Folkloric Latin Styles | |
| Course Number: | CW-P217 |
| Credits: | 2 |
| Prerequisites: | AR-111, ET-112, and HR-112 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall |
| Description: | This course examines the folkloric music from Latin America that informs today's contemporary music. Topics include traditional musical styles, forms, instrumentation, arranging techniques, melody, and harmony. Folkloric music from the following countries is studied: Argentina, Brazil, Chile, Colombia, the Dominican Republic, Mexico, Peru, Puerto Rico, and Venezuela. The course focuses on applications of these styles in contemporary arranging and composition. |
Flamenco Music Composition and Arranging | |
| Course Number: | CW-P227 |
| Credits: | 2 |
| Prerequisites: | AR-111 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | This course examines the concepts and techniques of writing flamenco music, which is a vital and growing genre in contemporary music. The course covers the origins of the various styles of flamenco, their individual influences, primary composers of flamenco, overview of popular lyrics, and common composition and arranging techniques in flamenco styles. Students will investigate the various aspects of writing flamenco music: use of improvised structure; binary, ternary, and polyrhythm rhythmic styles; traditional harmonic approaches and concepts; melodic approaches; and the use of microtones. A variety of compositions, arrangements, and orchestrations will be analyzed, including examples of contemporary compositions and new stylistic variations in flamenco that feature the use of electronics and flamenco without guitar. Students will create compositions and/or arrangements for a flamenco music ensemble. |
Musical Theater Arranging and Orchestration | |
| Course Number: | CW-P257 |
| Credits: | 2 |
| Prerequisites: | AR-112 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | This course is a study of orchestration in musical theater and the role of the orchestra in a theater piece. Students will arrange and orchestrate songs with a focus on supporting a vocalist, telling the story, and creating a theatrical sound. The class will explore how orchestration can be used as a dramatic element, to establish a period, create a mood, and support the narrative. Written projects focus on typical instruments and ensembles used in various theatrical situations. Listening will include songs from a wide variety of musical theater recordings, with examples of piano scores and individual parts from shows. |
Advanced Writing in Latin Styles | |
| Course Number: | CW-P313 |
| Credits: | 2 |
| Prerequisites: | AR-111 and CW-225 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | An advanced study of writing in a variety of Latin styles, including modern and traditional orchestration concepts, style-specific aspects of form and structure, score analysis, score and part preparation, and production tips that will give the composer, arranger, or orchestrator the proper tools to get the best results either in the studio or in a live performance. Styles covered include mambo, guaguancó, bomba, timba, bolero, danzón, tango reggae, samba, and partido alto. Students will create arrangements of existing works and original pieces for a variety of ensembles of different sizes and instrumentation. |
Advanced Vocal Writing | |
| Course Number: | CW-P316 |
| Credits: | 2 |
| Prerequisites: | CW-216 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | This course presents an expanded development of material introduced in CW-216. Important concepts include: production and direction of vocal rehearsals and recording sessions; advanced production techniques including layering, stacking, compressing and mixing vocal tracks; study of diverse song styles and musical concepts that comprise them; observation of text/language and cultural influence in relation to vocal writing; further development of multi-part background writing; more refined utilization of harmonic tensions and reharmonization. Rubato and groove-oriented a cappella techniques will also be explored. |
Writing and Producing for Music/Media Libraries | |
| Course Number: | CW-P470 |
| Credits: | 2 |
| Prerequisites: | CW-450 |
| Course Chair: | Matthew Nicholl |
| Required of: | None |
| Electable by: | CWPR, FILM, ELPD, and SONG majors |
| Offered: | Fall, Spring |
| Description: | This course covers advanced creative, technical, production and business aspects of writing for music and media libraries. Its main purpose is to expose and train students to be proficient in writing and producing for a variety of media-related music libraries through style specific assignments and scenarios. The course focuses on writing genre-specific music cues for reality shows, soap operas, talk/variety shows, documentaries, title sequences, infomercials, and web media such as miniseries, web advertising, and web-based tutorials. Students are guided through a thorough analysis and critique of each style and individual original writing assignments based on real case examples. For each style students master the creative process, library-specific production techniques, how to support different moods with appropriate music, how to communicate with media producers, and how to develop original material inside the boundaries set by the style and by the production team. This course focuses on how to compose and produce mood-based music libraries and cues that are not written to a specific picture. Each assignment is critiqued, assessed, and revised according to creative directions and style specific production guidelines. Discussions of business aspects include working with music libraries producers and companies, demo preparation, positive and quick response to feedback and comments from the music library producer and licensing scenarios. Through various projects students will have frequent opportunities to write music in different moods, styles, and lengths. Students must have a strong working knowledge and experience with hybrid production techniques and with MIDI systems and sequencing programs. |
Brass Quintet | |
| Course Number: | ENBR-321 |
| Credits: | 1 |
| Prerequisites: | Written approval of course chair |
| Course Chair: | Tom Plsek |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | A brass quintet that performs a mixture of traditional and 20th-century music. Instrumentation: two trumpets, horn, trombone, tuba. |
Brass Playing Singing | |
| Course Number: | ENBR-336 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Tom Plsek |
| Required of: | None |
| Electable by: | Brass principals |
| Offered: | Fall, Spring |
| Description: | This course is designed to focus on vocal performance for brass principals. Students may or may not have experience as vocalists. All classes will be geared towards the styles the individuals are interested in, emphasizing both singing and playing. Students will be asked to learn and perform new songs each week with the main emphasis being on the selection of correct keys, tempos, and styles. There will be a comparative analysis between vocal and instrumental phrasing, improvisation, and physiology. Students will also be exposed to performers who have been recognized and respected as both singers and horn players. |
Concert Choir | |
| Course Number: | ENCL-200 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Contemporary Orchestra | |
| Course Number: | ENCL-400 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | The Contemporary Orchestra features Berklee's student performers, composers, and conductors through the use of standard repertoire, film, multimedia, and sound. Works of major 20th-century composers, as well as Berklee students and faculty, will be programmed. Student performers will gain experience in orchestral auditions and have the opportunity to be featured as soloists. This ensemble meets two times per week; the second weekly meeting will be used for workshops. |
Contemporary Chamber Music Ensemble | |
| Course Number: | ENCL-402 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Art Music of Black Composers | |
| Course Number: | ENCL-403 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Musical Theater Orchestra | |
| Course Number: | ENCL-404 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Classical Chamber Music Ensemble | |
| Course Number: | ENCL-P405 |
| Credits: | 1 |
| Prerequisites: | Written permission of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Mixed instrumentation chamber ensemble, including brass, woodwinds, strings, voice, and guitar with piano accompanists. Ensemble will perform standard classical chamber music repertoire. Emphasis will be on developing accompanying skills while providing an outlet for soloists. |
Directed Study | |
| Course Number: | ENDS-400 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Electronic Improvisation | |
| Course Number: | ENEL-221 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Techno/Rave Ensemble | |
| Course Number: | ENEL-403 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Turntable Ensemble | |
| Course Number: | ENEL-404 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Funk | |
| Course Number: | ENFF-200 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Retro Funk/Fusion | |
| Course Number: | ENFF-201 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Funk/Fusion | |
| Course Number: | ENFF-220 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Funk/R&B Rating 4 | |
| Course Number: | ENFF-221 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
George Duke/George Benson | |
| Course Number: | ENFF-300 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Steve Coleman | |
| Course Number: | ENFF-301 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of the Crusaders | |
| Course Number: | ENFF-302 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of the Meters | |
| Course Number: | ENFF-303 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Original Fusion | |
| Course Number: | ENFF-320 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Joe Zawinul | |
| Course Number: | ENFF-321 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Stern, Brecker, and Scofield | |
| Course Number: | ENFF-322 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Pat Metheny | |
| Course Number: | ENFF-323 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Mahavishnu, Return to Forever | |
| Course Number: | ENFF-324 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Yellowjackets Ensemble | |
| Course Number: | ENFF-325 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Improvisation on 21st-Century Grooves | |
| Course Number: | ENFF-326 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4; drums and bass by audition |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Herbie Hancock | |
| Course Number: | ENFF-327 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Klezmer Music | |
| Course Number: | ENGB-201 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
South American Folkloric Music | |
| Course Number: | ENGB-220 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Contemporary Middle Eastern Music | |
| Course Number: | ENGB-221 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Afro-Pop | |
| Course Number: | ENGB-222 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Celtic Music | |
| Course Number: | ENGB-223 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Reggae Dub | |
| Course Number: | ENGB-300 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Caribbean Music | |
| Course Number: | ENGB-301 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Middle Eastern Fusion | |
| Course Number: | ENGB-400 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Microtonal Grooves | |
| Course Number: | ENGB-401 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Vocal Music of South Africa | |
| Course Number: | ENGB-402 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Guitar Performance Ensemble | |
| Course Number: | ENGT-111 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 1 through 4 |
| Course Chair: | Larry Baione |
| Required of: | All first-semester guitar principals who are enrolled in neither ENMX-100 nor ENMX-121 |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Development of ensemble group-playing skills, focusing on the roles of the guitarist. Development of melodic performance, rhythm guitar/accompaniment techniques, and improvisation in an ensemble setting. Material will be learned through use of recordings and call-and-response techniques as well as written music materials. Instrumentation: six electric guitars, bass, and drums. |
Guitar Ensemble | |
| Course Number: | ENGT-200 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Larry Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Fall, Spring, Summer |
| Description: | Performing groups for guitar principals. Offered in stylistically delineated sections, including jazz, rock, metal, acoustic pop, funk, fusion, and blues, this course focuses on development of performance skills in the specified style. Students should consult the current Preregistration Manual in order to enroll in the appropriate section. |
Jazz Guitar Trio | |
| Course Number: | ENGT-233 |
| Credits: | 1 |
| Prerequisites: | ILGT-119 |
| Course Chair: | Larry Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Fall, Spring |
| Description: | This ensemble will aid the student in performing in a jazz trio setting of guitar, acoustic bass, and drum set. Topics will range from idiomatic introductions and endings; challenging standard tunes/melodies; single note, octave, and chord soloing; soloing in double stops; solo introductions (rubato and in tempo); trading fours; comping for bass solos; reharmonization considerations; modulation/transposition for variation of color; fingerstyle/pick considerations; and attaining a good sound. |
Classical Guitar Repertoire | |
| Course Number: | ENGT-280 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Larry Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Fall, Spring |
| Description: | An ensemble for aspiring classical guitarists of all levels, based on the traditional repertoire class, where standard and lesser-known works of guitar literature are performed, coached, and discussed. Students will regularly perform level-appropriate pieces agreed upon with the instructor, and through these performances, the class will provide a survey of guitar literature. Coaching will cover issues of classical guitar performance such as tone, technique, musicality, interpretation, and style. The course will also include study of major classical guitarists and their recordings. |
Classical Guitar Chamber Music Ensemble 1 | |
| Course Number: | ENGT-281 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Larry Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Fall, Spring |
| Description: | An intermediate level ensemble focusing on the rehearsal, recording, and performance of literature written or transcribed for classical guitar. |
Guitar Artist Ensemble | |
| Course Number: | ENGT-340 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Larry Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Fall, Spring, Summer |
| Description: | In-depth approach to guitar performance, with each section of the course dedicated to signature repertoire and vocabulary of specific artists. Students will focus on the artist's harmonic, melodic, and rhythmic styles. Students should consult the current Preregistration Manual in order to enroll in the appropriate section. |
Classical Guitar Chamber Music Ensemble 2 | |
| Course Number: | ENGT-381 |
| Credits: | 1 |
| Prerequisites: | ENGT-281 |
| Course Chair: | Larry Baione |
| Required of: | None |
| Electable by: | Guitar principals |
| Offered: | Fall, Spring |
| Description: | Sight-reading and performing more advanced literature written or transcribed for classical guitar. |
Small Band Jazz Rating 3 | |
| Course Number: | ENJZ-200 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Elvin Jones | |
| Course Number: | ENJZ-201 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Smooth Jazz Rating 3 | |
| Course Number: | ENJZ-202 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Big Band Jazz Rating 3 | |
| Course Number: | ENJZ-203 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Martino, Pass, and Wes Montgomery | |
| Course Number: | ENJZ-204 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Small Band Jazz Rating 4 | |
| Course Number: | ENJZ-220 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Odd Meter Jazz | |
| Course Number: | ENJZ-221 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Smooth Jazz Rating 4 | |
| Course Number: | ENJZ-222 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Scofield, Carlton, and Ford | |
| Course Number: | ENJZ-223 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Jazz Flute Ensemble | |
| Course Number: | ENJZ-224 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
R&B/Gospel Jazz | |
| Course Number: | ENJZ-225 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Piano Trio | |
| Course Number: | ENJZ-226 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Django Reinhardt/Gypsy Jazz | |
| Course Number: | ENJZ-227 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Jazz and Latin Jazz Rating 4 | |
| Course Number: | ENJZ-228 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Jazz Featuring Vocals | |
| Course Number: | ENJZ-229 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Joni Mitchell | |
| Course Number: | ENJZ-230 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Piano Trio with Vocals Rating 4 | |
| Course Number: | ENJZ-231 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Big Band Jazz Rating 4 | |
| Course Number: | ENJZ-232 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Organ Grooves | |
| Course Number: | ENJZ-233 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Chamber Improvisation | |
| Course Number: | ENJZ-234 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Small Band Jazz Rating 5 | |
| Course Number: | ENJZ-300 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Jazz Octet | |
| Course Number: | ENJZ-301 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Bebop Ensemble | |
| Course Number: | ENJZ-302 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Charles Mingus | |
| Course Number: | ENJZ-303 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Jazz Sextet | |
| Course Number: | ENJZ-304 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
New Approaches/Jazz Decomposition | |
| Course Number: | ENJZ-305 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Miles Davis Electric | |
| Course Number: | ENJZ-306 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Jazz and Latin Jazz Rating 5 | |
| Course Number: | ENJZ-307 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Wes Montgomery | |
| Course Number: | ENJZ-320 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Wayne Shorter Ensemble | |
| Course Number: | ENJZ-321 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Horace Silver | |
| Course Number: | ENJZ-322 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Cedar Walton | |
| Course Number: | ENJZ-323 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Free Jazz/Bebop | |
| Course Number: | ENJZ-324 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Charlie Parker | |
| Course Number: | ENJZ-325 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
New Orleans Street Band | |
| Course Number: | ENJZ-326 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Small Band Jazz Rating 6 | |
| Course Number: | ENJZ-327 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Dave Holland | |
| Course Number: | ENJZ-328 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
ECM/Free Jazz | |
| Course Number: | ENJZ-329 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Original Compositions | |
| Course Number: | ENJZ-330 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
9-Piece Jazz Ensemble | |
| Course Number: | ENJZ-331 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Piano Trio with Vocals Rating 5 | |
| Course Number: | ENJZ-332 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Chord Scale Madness | |
| Course Number: | ENJZ-333 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Rainbow Big Band | |
| Course Number: | ENJZ-401 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Avant-Garde Ensemble | |
| Course Number: | ENJZ-402 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 7 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Concert Jazz Orchestra | |
| Course Number: | ENJZ-403 |
| Credits: | 2 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Small Band Jazz | |
| Course Number: | ENJZ-404 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Blue Note Era Jazz | |
| Course Number: | ENJZ-405 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 7 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Miles Davis Acoustic | |
| Course Number: | ENJZ-406 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 7 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Contemporary Jazz | |
| Course Number: | ENJZ-407 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 7 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Electric Jazz | |
| Course Number: | ENJZ-408 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Joe Henderson | |
| Course Number: | ENJZ-409 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 7 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Ornette Coleman | |
| Course Number: | ENJZ-410 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 7 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Rainbow All-Stars | |
| Course Number: | ENJZ-411 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Art Blakey | |
| Course Number: | ENJZ-412 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 7 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Urban Outreach Orchestra | |
| Course Number: | ENJZ-413 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Jazz Composition Ensemble | |
| Course Number: | ENJZ-414 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 7 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | |
Advanced Repertory Big Band Ensemble | |
| Course Number: | ENJZ-415 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Contemporary Small Band Jazz | |
| Course Number: | ENJZ-416 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 7 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Ensemble Master Class | |
| Course Number: | ENJZ-P400 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Introduction to Latin Jazz | |
| Course Number: | ENLT-200 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Brazilian Instrumental Rating 3 | |
| Course Number: | ENLT-201 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Latin/Afro-Cuban Styles | |
| Course Number: | ENLT-220 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Brazilian Instrumental Rating 4 | |
| Course Number: | ENLT-221 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Afro-Cuban Music Rating 4 | |
| Course Number: | ENLT-222 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Afro-Cuban Folkloric Music | |
| Course Number: | ENLT-223 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Vocal Music of Cuba and Brazil | |
| Course Number: | ENLT-224 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Latin/Afro-Cuban Jazz | |
| Course Number: | ENLT-300 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Brazilian Instrumental Rating 5 | |
| Course Number: | ENLT-301 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Afro-Cuban Music Rating 6 | |
| Course Number: | ENLT-320 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of the Dominican Republic | |
| Course Number: | ENLT-400 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Salsa Ensemble | |
| Course Number: | ENLT-401 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Latin Jazz Originals | |
| Course Number: | ENLT-402 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Rhythm Section Ensemble | |
| Course Number: | ENMX-100 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 1 |
| Course Chair: | Ron Savage |
| Required of: | All first-semester piano, guitar, bass, and percussion principals who are enrolled in neither ENGT-111 nor ENMX-121 |
| Electable by: | Piano, guitar, bass, and percussion principals |
| Offered: | Fall, Spring, Summer |
| Description: | |
Mixed Styles Rating 2 | |
| Course Number: | ENMX-121 |
| Credits: | 1 |
| Prerequisites: | ENMX-100 or overall ensemble rating 2 |
| Course Chair: | Ron Savage |
| Required of: | All first-semester students who are enrolled in neither ENGT-111 nor ENMX-100 |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Mixed Styles Rating 3 | |
| Course Number: | ENMX-200 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Mixed Styles Rating 4 | |
| Course Number: | ENMX-220 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Latin Jazz with Vocals | |
| Course Number: | ENMX-221 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Mixed Styles Rating 5 | |
| Course Number: | ENMX-300 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Studio Recording Ensemble | |
| Course Number: | ENMX-315 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Music Therapy Ensemble | |
| Course Number: | ENMX-401 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Beginning Percussion Ensemble | |
| Course Number: | ENPC-211 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | John Ramsay |
| Required of: | MUED drum set and MUED total percussion principals |
| Electable by: | All percussion principals |
| Offered: | Fall, Spring |
| Description: | For beginning percussion players. Covers the use of snare drum, bass drum, cymbals, tambourine, triangle, simple mallet music, and timpani in an ensemble setting. |
Contemporary Mallet Percussion Ensemble | |
| Course Number: | ENPC-215 |
| Credits: | 1 |
| Prerequisites: | ILPM-121 |
| Course Chair: | John Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | This nontraditional percussion ensemble consists of mallet instruments with a rhythm section performing original compositions. Emphasis is placed upon rhythmic accuracy and creating spontaneous compositions. No previous improvisational skills are necessary. |
World Percussion Ensemble | |
| Course Number: | ENPC-221 |
| Credits: | 1 |
| Prerequisites: | ILPD-112 and overall ensemble rating 4 |
| Course Chair: | John Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Fall, Spring |
| Description: | An ensemble utilizing transcriptions and adaptations of the repertoire of percussion groups throughout the world. Drum set, marching, and orchestral percussion instruments will be combined in performance with African, Indian, Brazilian, and Latin instruments. Through demonstration and study of recorded audio and video sources, students will develop performance skills on a wide variety of percussion instruments. |
Mixed World Ensemble | |
| Course Number: | ENPC-321 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 7 or written approval of instructor and course chair |
| Course Chair: | John Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Development of repertoire and performance skills in an ensemble consisting of both Western and non-Western or "world" instruments. Integration of non-Western ideas and techniques; listening and improvising outside of standard jazz and pop forms; spontaneous composition as opposed to loose improvisation; strengthening of individual musical aesthetic. |
Berklee Bata Ensemble | |
| Course Number: | ENPC-359 |
| Credits: | 1 |
| Prerequisites: | ILPH-354 |
| Course Chair: | John Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Fall, Spring |
| Description: | A continuation of ILPH-354. Continued development of performance skills through study of recordings and transcriptions, singing and chanting, and group playing. Application of drumming and singing to other musical forms. |
Marimba in Mixed Chamber Music Ensemble | |
| Course Number: | ENPC-363 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 or written approval of instructor and course chair |
| Course Chair: | John Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | An ensemble for advanced marimbists, instrumentalists, and vocalists dedicated to the performance of compositions and arrangements that include the marimba. Music performed will be drawn from classical and contemporary styles. An end-of-semester recital is scheduled. |
West African Drum and Dance Ensemble | |
| Course Number: | ENPC-374 |
| Credits: | 1 |
| Prerequisites: | ILPH-351 and by audition for dancers |
| Course Chair: | John Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | A performance-based ensemble utilizing the music and rhythms from traditional West African genres. Emphasis will be placed upon dialogue between drum calls and dance movement along with cultural songs of historical content. Students will perform at least once as a full ensemble at the end of each semester. |
The Berklee College Drum Line | |
| Course Number: | ENPC-385 |
| Credits: | 1 |
| Prerequisites: | ILPD-111 or by audition |
| Course Chair: | John Ramsay |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | A percussion ensemble designed to develop playing skills in the drum line idiom. Instrumentation includes snare drums, multi-toms, mixed percussion, tuned bass drums, and mallet keyboards. Practice materials and routines designed to develop strength, control, and endurance will be included. An end-of-semester performance will be prepared. |
Berklee College of Music Percussion Ensemble | |
| Course Number: | ENPC-431 |
| Credits: | 1 |
| Prerequisites: | ENPC-211, overall ensemble 4, or by audition |
| Course Chair: | John Ramsay |
| Required of: | Percussion principal PERF majors |
| Electable by: | All percussion principals |
| Offered: | Fall, Spring |
| Description: | Advanced performance lab for percussion principals emphasizing group performance of contemporary percussion literature. Students enrolled in the fall semester are expected to reregister in this course for credit for the spring semester. Spring concert material will be rehearsed and prepared during both fall and spring semesters. |
Berklee Steelpan Ensemble | |
| Course Number: | ENPH-291 |
| Credits: | 1 |
| Prerequisites: | ILPH-391 |
| Course Chair: | John Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Fall, Spring |
| Description: | This ensemble will perform a range of music specifically written and arranged for the steelpan instrument. Repertoire will be drawn from "Panorama" arrangements adapted for small ensemble, original arrangements by the director, and adaptations from the European classical repertoire. Styles will include pop, calypso, and contemporary jazz. Desired instrumentation is: four tenors (leads), two double seconds, one guitar pan, two triple cellos, one tenor bass, two bass, and assorted engine room percussion instruments (drum set and hand percussion). This ensemble will perform a recital at the end of the semester, and possibly at other special events. |
Marimba Ensemble | |
| Course Number: | ENPM-331 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | John Ramsay |
| Required of: | Total percussion and vibraphone principal MUED and PERF majors |
| Electable by: | All percussion principals |
| Offered: | Fall, Spring |
| Description: | An ensemble for beginning percussionists specializing in interpretations and transcriptions of baroque, classical, and contemporary literature. |
Marimba Ensemble 2 | |
| Course Number: | ENPM-332 |
| Credits: | 1 |
| Prerequisites: | ENPM-331 or written approval of course instructor |
| Course Chair: | John Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Fall, Spring |
| Description: | An ensemble for intermediate percussionists specializing in interpretations and transcriptions of baroque, classical, and contemporary literature. |
Marimba Ensemble 3 | |
| Course Number: | ENPM-333 |
| Credits: | 1 |
| Prerequisites: | ENPM-332 or written approval of course instructor |
| Course Chair: | John Ramsay |
| Required of: | None |
| Electable by: | All percussion principals |
| Offered: | Fall, Spring |
| Description: | An ensemble for advanced percussionists specializing in interpretations and transcriptions of baroque, classical, and contemporary literature. |
Elements of Jazz Piano | |
| Course Number: | ENPN-131 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Stephany Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Fall, Spring |
| Description: | A piano ensemble designed for entering students with strong classical technique but little background in jazz performance. Focuses on comping, improvisation, and development of jazz rhythmic feels. Uses of notated jazz materials for development of rhythmic, harmonic, and call-and-response skills. |
Afro-Cuban Piano Montunos Ensemble | |
| Course Number: | ENPN-246 |
| Credits: | 1 |
| Prerequisites: | ILPN-112 and ILPN-122, or overall ensemble 2 |
| Course Chair: | Stephany Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Fall, Spring |
| Description: | This course emphasizes rhythmic aspects and the historical context of Afro-Cuban piano montunos. Harmonic vocabulary includes triads and sixth chords in inversions, and "A" and "B" standard jazz voicings for major, minor, and dominant seventh chords. Harmonic contexts used in class encompass one chord, I-IV-V-VI-I progression and variations, and standard jazz tunes. All examples are in duple meter. |
Odd-Meter Rhythmic Studies for the Pianist Ensemble | |
| Course Number: | ENPN-249 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating of 4 |
| Course Chair: | Stephany Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Fall, Spring |
| Description: | A hands-on, in-depth study of odd meters (5/4, 7/4, 5/8, 11/8 and 15/8) using rhythmic speech and counting/tapping of various groupings and accents. These exercises will take place at the piano and away from the instrument and will emphasize repetition to give the student time to internalize the groove of each meter. Through an in-depth study of cross-rhythms, listening to significant performances and transcribing musical examples, students will be expected to produce and perform arrangements of standards and/or original compositions utilizing odd meters. |
Synth Techniques for Live Performance Ensemble | |
| Course Number: | ENPN-261 |
| Credits: | 1 |
| Prerequisites: | ILPN-122 or overall ensemble rating 3 |
| Course Chair: | Stephany Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Fall, Spring, Summer |
| Description: | An ensemble designed for piano principals emphasizing basic synthesizer programming and performance in a live situation. Focuses on orchestration, patch choices, and playing multiple timbres simultaneously in any synthesizer setup. |
Gospel Keyboard Techniques Ensemble | |
| Course Number: | ENPN-266 |
| Credits: | 1 |
| Prerequisites: | ILPN-122 or overall ensemble rating 3 |
| Course Chair: | Stephany Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Fall, Spring |
| Description: | This ensemble will expose the pianist to the stylistic diversity among gospel keyboard performers. Through analysis, transcriptions, and performance, students will gain practical performance experience in playing hymns, traditional gospel pieces, and contemporary gospel music. Focus will be on learning gospel music in the traditional way and will include learning by ear. The student will be exposed to the historical development of this spiritual music. |
Accompanying Techniques for the Piano/Vocalist Ensemble | |
| Course Number: | ENPN-279 |
| Credits: | 1 |
| Prerequisites: | ILPN-121 or overall ensemble rating 2 |
| Course Chair: | Stephany Tiernan |
| Required of: | Piano/voice dual principal PERF majors |
| Electable by: | Piano principals |
| Offered: | Fall, Spring |
| Description: | An ensemble for piano principals focusing on tunes in various jazz, pop/rock, and r&b styles. Students will enhance technical skills, such as creating effective intros and endings and performing in several rhythmic styles and feels, as well as learning traits and requirements for being effective accompanists. The course includes self-accompanying for students who both play and sing. |
Piano Trio Lab | |
| Course Number: | ENPN-311 |
| Credits: | 1 |
| Prerequisites: | By audition |
| Course Chair: | Stephany Tiernan |
| Required of: | First-semester piano principals with ensemble rating of 4 to 6 |
| Electable by: | Piano principals |
| Offered: | Fall, Spring |
| Description: | An ensemble for six entering piano students with an overall ensemble rating of 4 to 6 to play with bass and drums in a variety of grooves, with primary emphasis on organizing material for the trio. |
The Piano Style of Thelonious Monk Ensemble | |
| Course Number: | ENPN-353 |
| Credits: | 1 |
| Prerequisites: | Ensemble rating 5555 |
| Course Chair: | Stephany Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Fall |
| Description: | An ensemble for piano principals emphasizing the melodic, harmonic, rhythmic, and compositional innovations of Thelonious Monk. Studies will include listening and analysis of recordings; performance of transcriptions; and detailed analysis of Monk's compositional and improvisational techniques, including his harmonic and rhythmic innovations and treatment of standard tunes. |
Rehearsal Techniques for the Pianist/ Band Leader Ensemble | |
| Course Number: | ENPN-365 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Stephany Tiernan |
| Required of: | None |
| Electable by: | Piano principal PERF majors |
| Offered: | Fall, Spring |
| Description: | An ensemble for piano performance majors that focuses on practical rehearsal techniques. The student applies rehearsal techniques to duos, trios, and larger ensembles with one or more horns. Focus is on creating arrangements for the band, understanding the role of the bass player and drummer, cueing, conducting, and playing and rehearsing with the band and singer. |
New Music Improvisation Ensemble | |
| Course Number: | ENPN-371 |
| Credits: | 1 |
| Prerequisites: | ILPN-113 and ILPN-121, or overall ensemble 2 |
| Course Chair: | Stephany Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Fall, Spring |
| Description: | An ensemble for pianists to study improvisational systems and structures using both traditional notation and other methods such as graphic, visual, or written instructions. Topics include motivic development; varied scales and harmonic materials; dynamic registral and spatial contrasts; and repetition and variation of patterns with an emphasis on listening and group interaction. Students are encouraged to develop their own compositions for performance in class. |
Jazz Piano Master Class Ensemble | |
| Course Number: | ENPN-461 |
| Credits: | 1 |
| Prerequisites: | Ensemble rating 4444 |
| Course Chair: | Stephany Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Fall, Spring, Summer |
| Description: | An advanced performance ensemble for piano principals providing the opportunity to study, analyze, and perform the music of selected jazz pianists in a master-class setting. Transcriptions of materials to be studied will be distributed to provide the basis for faculty-led analytical discussions. The addition of bass and drums will allow for performance in a complete group setting. |
Jazz Piano Trio 1 | |
| Course Number: | ENPN-P112 |
| Credits: | 1 |
| Prerequisites: | ILPN-121 or overall ensemble rating 2 |
| Course Chair: | Stephany Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Fall, Spring |
| Description: | An ensemble for piano students who want to improve their ability to function in an ensemble setting with bass and drums. They will gain an understanding of the role of bass and drums in the rhythm section and learn to interact and communicate with them. Creating arrangements, working on appropriate comping techniques, improvisation, dynamic balance, and other applicable techniques to the jazz piano trio idiom will be addressed. |
Introduction to Jazz Improvisation for Classical Pianists | |
| Course Number: | ENPN-P121 |
| Credits: | 1 |
| Prerequisites: | ILPN-121 and PIPN-111 |
| Course Chair: | Stephany Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Fall, Spring |
| Description: | Designed for classical pianists who want to develop jazz improvisation skill. This course will emphasize the understanding of the process of improvisation; specifically addressing the fundamental differences between jazz and classical piano playing. Specific attention will be paid to standard jazz forms, including blues and standard jazz repertoire, free improvisation, time feel, interpretation, and motivic development. |
Jazz Piano Trio 2 | |
| Course Number: | ENPN-P212 |
| Credits: | 1 |
| Prerequisites: | Take ILPN-122 |
| Course Chair: | Stephany Tiernan |
| Required of: | None |
| Electable by: | Piano principals |
| Offered: | Fall, Spring |
| Description: | A two-hour lab for Piano Performance Majors that focuses on advanced harmonic and rhythmic studies for the pianist and the rhythm section. Styles include Latin, Brazilian, Hard Bop and Modern. Class focuses on rhythmic accuracy, independence, using the left-hand as an integral part of building up solos, understanding of odd meters, such as 3/4, 5/4 and 7/4, rhythmic comping and the use of rhythmic motif displacement as a comping and soloing technique in various styles. Development of rhythm section language and musical communication with bass and drums. |
Mixed Pop Styles | |
| Course Number: | ENPP-121 |
| Credits: | 1 |
| Prerequisites: | ENMX-100 or overall ensemble rating 2 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Mixed Pop and Jazz | |
| Course Number: | ENPP-200 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Mixed Pop and Rock | |
| Course Number: | ENPP-201 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
R&B, Pop/Rock, and Jazz | |
| Course Number: | ENPP-202 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Lilith Fair | |
| Course Number: | ENPP-203 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Acoustic Unplugged | |
| Course Number: | ENPP-204 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Solo Pop/Rock Performer | |
| Course Number: | ENPP-205 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Oldies: Sam Cooke, Tina Turner, and Otis Redding | |
| Course Number: | ENPP-220 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Pop/R&B | |
| Course Number: | ENPP-221 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Pop and Indie | |
| Course Number: | ENPP-222 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Pop/Rock | |
| Course Number: | ENPP-223 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Pop/Rock and Country | |
| Course Number: | ENPP-224 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Recording Rhythm Section Rating 5 | |
| Course Number: | ENPP-300 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Rhythm Track for Songwriters | |
| Course Number: | ENPP-303 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Paul Simon and Sting | |
| Course Number: | ENPP-320 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 6 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Contemporary Christian | |
| Course Number: | ENPP-400 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Vocal Recording Session | |
| Course Number: | ENPP-401 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
L.A. Studio Ensemble | |
| Course Number: | ENPP-402 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
R&B Jam Band | |
| Course Number: | ENRB-200 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
R&B Rating 3 | |
| Course Number: | ENRB-201 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
R&B/Hip-Hop | |
| Course Number: | ENRB-220 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Spoken Word | |
| Course Number: | ENRB-221 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of James Brown | |
| Course Number: | ENRB-300 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
'70s R&B/Funk | |
| Course Number: | ENRB-301 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
R&B/Funk Rating 5 | |
| Course Number: | ENRB-302 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
R&B/Smooth Jazz | |
| Course Number: | ENRB-303 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Original R&B | |
| Course Number: | ENRB-304 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of P-Funk | |
| Course Number: | ENRB-401 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Tower of Power | |
| Course Number: | ENRB-402 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Hip-Hop Ensemble | |
| Course Number: | ENRB-403 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Techno/DJ Sampling Ensemble | |
| Course Number: | ENRB-405 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Aretha Franklin, Stevie Wonder, Marvin Gaye, and Chaka Khan | |
| Course Number: | ENRB-406 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Divas Ensemble | |
| Course Number: | ENRB-407 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Neo-Soul | |
| Course Number: | ENRB-408 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Take 6, Sweet Honey in the Rock, and Ladysmith Black Mambazo | |
| Course Number: | ENRB-409 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Funk and Soul Review | |
| Course Number: | ENRB-P400 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Rock and Roll Hall of Fame Ensemble | |
| Course Number: | ENRK-200 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Classic Rock | |
| Course Number: | ENRK-201 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Rock Jam Band | |
| Course Number: | ENRK-202 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Rock of the '70s | |
| Course Number: | ENRK-203 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of Jimi Hendrix | |
| Course Number: | ENRK-204 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Progressive Rock Rating 3 | |
| Course Number: | ENRK-205 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Blues-Rock Ensemble | |
| Course Number: | ENRK-206 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
The Music of the Beatles | |
| Course Number: | ENRK-220 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Women in Rock | |
| Course Number: | ENRK-300 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Progressive Rock Instrumental Rating 5 | |
| Course Number: | ENRK-302 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
String Metal Ensemble | |
| Course Number: | ENRK-303 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Hardcore/Heavy Metal | |
| Course Number: | ENRK-400 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Blues | |
| Course Number: | ENRT-200 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Acoustic Blues | |
| Course Number: | ENRT-201 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Traditional Gospel | |
| Course Number: | ENRT-203 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
String Improvisation Ensemble | |
| Course Number: | ENRT-204 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Spirituals | |
| Course Number: | ENRT-220 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
New Acoustic Music | |
| Course Number: | ENRT-221 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Chicago Blues | |
| Course Number: | ENRT-300 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Bluegrass | |
| Course Number: | ENRT-400 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Country Music Ensemble | |
| Course Number: | ENRT-401 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Men's Chorus | |
| Course Number: | ENRT-402 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Women's Chorus | |
| Course Number: | ENRT-403 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Overjoyed | |
| Course Number: | ENRT-404 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Reverence Gospel Ensemble | |
| Course Number: | ENRT-405 |
| Credits: | 2 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Old Time/Appalachian Music | |
| Course Number: | ENRT-406 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | |
Acoustic Strings Workshop | |
| Course Number: | ENRT-P304 |
| Credits: | 2 |
| Prerequisites: | None |
| Course Chair: | Melissa Howe |
| Required of: | None |
| Electable by: | String, bass, guitar, and hand percussion principals |
| Offered: | Fall, Spring |
| Description: | This ensemble specializes in original and progressive acoustic string music, drawing from bluegrass, jazz, and rock roots. Students should have a firm foundation in memorized repertoire. Course will include study of arranging and instrumentation as well as idiomatic improvisational techniques. |
Improvisational String Ensemble | |
| Course Number: | ENSB-355 |
| Credits: | 1 |
| Prerequisites: | By audition |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | String, guitar, bass, and hand percussion principals |
| Offered: | Fall, Spring |
| Description: | An ensemble consisting of a string quartet plus rhythm section. Emphasis will be on ensemble playing skills and improvisational vocabulary in diverse contemporary idioms. Incorporation of standard jazz vocabulary with that of other common improvisational string idioms, such as world/fusion, Western swing, and various traditional styles such as Appalachian- and Texas-style fiddling, Celtic music, and bluegrass. Instrumentation: violins, viola, cello, acoustic guitar, acoustic bass, plus optional rhythm section instruments such as hand percussion, mandolin, banjo, etc. |
Advanced Woodwind Chamber Music | |
| Course Number: | ENSB-361 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 or written approval of course chair |
| Course Chair: | Bill Pierce |
| Required of: | None |
| Electable by: | Woodwind and French horn principals |
| Offered: | Fall, Spring |
| Description: | Woodwind ensembles for advanced players (flute, clarinet, oboe, bassoon, and French horn) emphasizing the development of classical chamber music performance skills. |
Advanced Repertory Workshop | |
| Course Number: | ENSB-425 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 7 |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Harmonic analysis and performance of contemporary standard jazz repertoire. Instrumentation: mixed winds, piano, guitar, bass, and drums. |
Harp Improvisation Ensemble | |
| Course Number: | ENST-131 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Melissa Howe |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Fall, Spring |
| Description: | This ensemble is designed to strengthen the basic skills needed for improvisation, including jazz harmony, phrasing, melodic development, reading chord charts, and technical aspects of improvisation on the harp. |
Banjo Improvisation Ensemble | |
| Course Number: | ENST-132 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Melissa Howe |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Fall, Spring, Summer |
| Description: | Banjo students will study chords and scales, and the ways in which they relate. This will then be used as the basis for improvisation, comping, and composing original tunes. |
R&B String Ensemble | |
| Course Number: | ENST-140 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Melissa Howe |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Fall, Spring, Summer |
| Description: | This course will introduce string players to performance techniques useful for playing popular music.Using music by James Brown, Wilson Picket, Stevie Wonder, the Meters, and others, students will explore riffing, playing in different parts of the beat, playing without vibrato, soloing and other techniques that will help them play convincingly in several styles of dance music. |
Free Improvisation for Strings | |
| Course Number: | ENST-141 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Melissa Howe |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Fall, Spring |
| Description: | This ensemble provides students with the opportunity to develop improvisational skills through free improvisation. Players are encouraged to create dynamic and rhythmic pieces using existing musical skills. Skills are expanded through the study of the musical elements, complex time signatures, form, and musical roles. Students learn to trust their instincts for the ebb and flow of music as they create satisfying ensemble pieces with no prior plan or discussion. |
Berklee Contemporary String Orchestra | |
| Course Number: | ENST-151 |
| Credits: | 1 |
| Prerequisites: | Written approval of course chair |
| Course Chair: | Melissa Howe |
| Required of: | String principals |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Classic and contemporary approaches to string ensemble performance, including groove-based playing and improvisation in addition to more traditional repertoire. Students will be required to attend and participate in one 2-hour class meeting, and one 1-hour additional class meeting per week. |
String Master Class | |
| Course Number: | ENST-221 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Melissa Howe |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Fall, Spring, Summer |
| Description: | This ensemble is a contemporary version of the traditional conservatory master class. It provides students with the opportunity to perform weekly in a setting less public than a concert hall, to give and get feedback on performing, and to hear many points of view on string playing. |
Acoustic Roots Improvisation Ensemble | |
| Course Number: | ENST-222 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Melissa Howe |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Fall, Spring, Summer |
| Description: | This ensemble is a hands-on tour of two great American improvisational music forms, bluegrass and swing, focusing on melodic variation as well as chord-based jazz improvisational strategies, with an emphasis on standard repertoire and transcription projects. |
Wayfaring Strangers Ensemble | |
| Course Number: | ENST-223 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Melissa Howe |
| Required of: | None |
| Electable by: | String Principals |
| Offered: | Fall, Spring, Summer |
| Description: | This ensemble uses traditional folk, country, and blues repertoire as a means to develop higher level improvisational, compositional, and arranging skills in a band setting. |
Rhythmic Explorations for Strings | |
| Course Number: | ENST-224 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Melissa Howe |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Fall, Spring, Summer |
| Description: | This ensemble will explore grooves, rhythms, and textures for string group using traditional, international, jazz, and other modern material, some of which will be improvised, some written. Participants will learn how to form a coherent and powerful ensemble sound on varied musical frameworks. |
Classical String Chamber Music Ensemble | |
| Course Number: | ENST-251 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Melissa Howe |
| Required of: | None |
| Electable by: | Violin, viola, cello, and harp principals |
| Offered: | Fall, Spring |
| Description: | Study and performance of string quartets and trios from the repertoire of the baroque period through the 21st century. |
Contemporary Arranging and Performing For Strings | |
| Course Number: | ENST-252 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Melissa Howe |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Fall, Spring, Summer |
| Description: | Strings playing covers of non-string based popular music. Students pick the repertoire and write the arrangements. |
Old Time Fiddle Ensemble | |
| Course Number: | ENST-253 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Melissa Howe |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Fall, Spring |
| Description: | This ensemble explores ways to incorporate regional fiddle styles (including Appalachian/old-time, Celtic, Scandinavian, and related traditions) into varied small string ensemble formats, using extended concepts of modal harmony and contrapuntal strategies. Students will play and develop arrangements of traditional repertoire, the work of contemporary fiddle music composers and tunesmiths, and their own compositions in both traditional and experimental neotraditional styles. |
Global String Ensemble | |
| Course Number: | ENST-271 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Melissa Howe |
| Required of: | None |
| Electable by: | String principles |
| Offered: | Fall, Spring, Summer |
| Description: | This ensemble will examine the way string instruments and improvisation are used in a variety of musical cultures including Greek, Bulgarian, Hungarian, klezmer, Romanian, and Charanga. |
Rock Strings Ensemble | |
| Course Number: | ENST-290 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Melissa Howe |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Fall, Spring |
| Description: | This ensemble offers string players the opportunity to study and play past and current rock violin styles, including the music of Jerry Goodman, Sugar Cane Harris, Jean-Luc Ponty, and Boyd Tinsley. Students will listen, transcribe, and perform weekly in a variety of rock violin styles, including specific use of effects. We will also use the work of great rock guitarists, such as Jimi Hendrix and Eric Clapton, as templates. |
Contemporary Styles String Quartet | |
| Course Number: | ENST-P254 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Melissa Howe |
| Required of: | None |
| Electable by: | String principals |
| Offered: | Fall, Spring |
| Description: | This ensemble offers study and performance of string quartets in a variety of contemporary styles. It provides students the opportunity to learn how to expand the historically and musically significant string quartet genre to a wide variety of contemporary styles. The same topics that occupy any working classical quartet (for example, intonation, ensemble, stylistic integrity) will apply to this contemporary styles quartet. However, the musical parameters of each style will determine what exactly is needed to give an authentic performance of the style being studied. Listening skills in the ensemble, instrumental skills needed for the style, and performance skills will be stressed and valued. |
Rhythm Section Grooves for Vocalists I | |
| Course Number: | ENVC-111 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | A lab for vocalists that will focus on the basic functions of the rhythm section and how to communicate with a rhythm section in a variety of musical styles. Instruments discussed will include electric and acoustic bass, drums, keyboard, and guitar as well as musical elements of various time-feels and grooves. Class members will have the opportunity to work with a rhythm section. |
Rhythm Section Grooves for Vocalists 2 | |
| Course Number: | ENVC-112 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | An ensemble for vocalists that will focus on the basic functions of the rhythm section and how to communicate with a rhythm section in a variety of musical styles. Instruments discussed will include electric and acoustic bass, drums, keyboard, and guitar, as well as musical elements of various time-feels and grooves. Class members will have the opportunity to work with a rhythm section. |
Rhythm Section Grooves for Vocalists 3 | |
| Course Number: | ENVC-113 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | An ensemble for vocalists that will focus on the basic functions of the rhythm section and how to communicate with a rhythm section in a variety of musical styles. Instruments discussed will include electric and acoustic bass, drums, keyboard, and guitar, as well as musical elements of various time-feels and grooves. Class members will have the opportunity to work with a rhythm section. |
Jazz/Blues Vocal Ensemble with Improvisation | |
| Course Number: | ENVC-122 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | Introductory jazz/blues performance ensemble for voice principals designed to prepare students for solo performance in ensembles and other performing venues within a specific song style. Focus on building jazz repertoire and getting familiar with jazz masters, as well as musicianship, harmony, and sight-reading. Additional focus will be on beginning improvisation skills in the jazz and blues idioms, including melodic and rhythmic phrasing, embellishments, tone color, and hearing basic blues patterns, as well as historical perspective. |
R&B Vocal Ensemble with Improvisation | |
| Course Number: | ENVC-123 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | Introductory r&b performance ensemble for voice principals designed to prepare students for solo performance in ensembles and other performing venues within a specific song style. Vocalists will learn how to count off tempos of songs, microphone technique, song style and groove, communication with the accompanist, and lead sheet preparation. Additional focus will be on beginning improvisation skills in the r&b idiom, including melodic and rhythmic phrasing, embellishments, tone color, and hearing basic blues patterns. |
Pop/Rock/Country Vocal Ensemble with Background Vocals | |
| Course Number: | ENVC-124 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | Introductory pop/rock/country performance ensemble for voice principals designed to prepare students for solo performance in ensembles and other performing venues within a specific song style. Vocalists will learn how to count off tempos of songs, microphone technique, song style, and groove communication with the accompanist and lead sheet preparation. |
Beginning Improvisation Ensemble, Mixed Styles | |
| Course Number: | ENVC-141 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | An ensemble for vocalists focusing on basic skills in improvisation in a variety of styles. Melodic and rhythmic phrasing embellishments using tone colors and hearing basic blues patterns in vocal styles including pop, rock, r&b, and jazz. |
Vocal Improvisation Ensemble, Jazz | |
| Course Number: | ENVC-142 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 2 |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | An intermediate ensemble for vocalists focusing on improvisation in the jazz idiom. Topics include articulation and groove, melodic and rhythmic phrasing, embellishments, using tone colors, hearing basic instrumental patterns, blues patterns, vamps, turnarounds, and II-V progressions. |
Vocal Improvisation Ensemble, R&B | |
| Course Number: | ENVC-143 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 2 |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | An intermediate ensemble for vocalists focusing on improvisation skills in the r&b idiom. Melodic and rhythmic phrasing embellishments using tone colors and hearing basic blues patterns. |
Elements of Vocal Technique and Performance | |
| Course Number: | ENVC-210 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 2 |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | Introductory level ensemble for vocalists designed to address the basic elements of singing in a performance environment, e.g. breath management, intonation, tone quality, and phrasing. Song materials will be selected in consultation with the private instructor. Students will participate in periodic self-assessment and videotaped in-class performance. |
Contemporary Indian Vocal Ensemble | |
| Course Number: | ENVC-216 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | An introduction to various aspects of Indian music, including specific Indian modes, rhythmic patterns, and improvisation techniques. This performance-oriented ensemble will explore the basics of Hindustani, Carnatic, and Indian folk music through listening, analysis, transcription, and performance. Students will study the works of contemporary Indian composers such as A.R. Rahman, Salim-Sulaiman, Shankar-Ehsaan-Loy, and others who combine Indian classical and folk traditions with Western harmonic concepts and instrumentation. |
Eastern Vocal Styles Ensemble | |
| Course Number: | ENVC-218 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | A performance ensemble that explores various vocal traditions from the Middle East, Eastern Europe, the Balkans, North Africa, as well as Central and South Asia through listening, transcription, and performance. Artists covered include Umm Kulthum (Egypt), Fairuz (Lebanon), Le Mystere des Voix Bulgares (Bulgaria), Erkan Ogur (Turkey), Cheb Mami (Algeria), Nusrat Fateh Ali Khan (Pakistan), and Taraf de Haïdouks (Romania), as well as popular crossover artists such as Ofra Haza, Sussan Deyhim, Zulal, Natacha Atlas, and Sheila Chandra. Students also experiment with hearing and executing microtones, in addition to learning rhythms, modes, forms, and improvisation concepts from the different regions. |
Vocal Jazz History Ensemble | |
| Course Number: | ENVC-221 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Vocalists are immersed in the jazz music of important and influential vocal groups from 1930 to present. Vocal groups covered include the Boswell Sisters; the Mills Brothers; Mel Torme and the Mel-Tones; Lambert, Hendricks, and Ross; Swingle Singers; Take 6; and Manhattan Transfer. Students will strive for authentic performances through listening, studying printed transcriptions, emulating tone, articulation, diction, and phrasing of specific vocal arrangements. Materials covered vary according to the starting level of the student group. A final performance is required. |
A Cappella Workshop Ensemble | |
| Course Number: | ENVC-232 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring |
| Description: | Vocal ensemble that concentrates on small group singing without instrumental accompaniment. Content will focus on developing musical independence and ear training within the context of popular and jazz vocal styles. Will include vocal styles and song selections such as Take Six, Singers Unlimited, Manhattan Transfer, The Bobs, Impact, New York Voices, and The King Singers, as well as original compositions and arrangements. |
Jazz Fundamentals Ensemble for Vocalists | |
| Course Number: | ENVC-241 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | An intermediate ensemble for aspiring jazz vocalists. Study of American composers and repertoire including Porter, Gershwin, and Rodgers and Hart. Emphasis on sight-reading, analysis, elements of swing, bebop, and vocalise, rhythmic figures, scales, and melodic embellishments. |
Instrumental Vocal Singing Ensemble | |
| Course Number: | ENVC-243 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | This ensemble is designed to teach each student how to explore and discover all the boundaries of what is vocally possible. Each student will obtain the skills necessary to reproduce an instrumental track using just the voice. Students are required to have a functioning version of Digital Performer installed before the first class session. |
Great American Songbook Ensemble | |
| Course Number: | ENVC-245 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals and piano/voice dual principals |
| Offered: | Fall |
| Description: | This course will familiarize voice students with jazz standard songs and composers of the "Great American Songbook," including George Gershwin, Cole Porter, Duke Ellington, Rodgers and Hart, Rodgers and Hammerstein, Irving Berlin, Harold Arlen, and many more who impacted America's music. Students will learn to sing and perform songs in the jazz style with rhythm section. In addition, students will learn about a specific song era, historical content, and the composer by making song introductions regarding the composer and song. |
Self-Accompanying Singer Ensemble | |
| Course Number: | ENVC-261 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 3 |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | An ensemble for singers who accompany themselves and wish to develop vocal performing skills. Topics will include basic singing techniques, tone quality, diction, projection, stylistic vocal delivery, approaches stage presence, and effective utilization of microphones and PA systems. |
Advanced Vocal Performance Ensemble Mixed Styles 1 | |
| Course Number: | ENVC-331 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | A continuation of vocal performance study with emphasis on song interpretation, elements of style, microphone technique, stage presence, and rehearsing with a rhythm section. |
Music Education Concert Choir | |
| Course Number: | ENVC-361 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Cecil Adderley |
| Required of: | MUED majors |
| Electable by: | MUED majors |
| Offered: | Fall, Spring |
| Description: | Concert choir experience with the materials and literature of secondary school music. |
Musical Theater Ensemble | |
| Course Number: | ENVC-370 |
| Credits: | 2 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | An ensemble designed to provide singers with an understanding of repertoire styles and basic stagecraft. An end-of-semester musical/dramatic presentation will be scheduled. |
Advanced Performance Skills for the Background Singer | |
| Course Number: | ENVC-375 |
| Credits: | 1 |
| Prerequisites: | Ensemble rating 5555 or by audition |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | A continuation of ILVC-281, Performance Skills for Live Background Vocalists, concentration will be on more difficult and advanced vocal arrangements in live performance venues. Topics integrated into assigned materials will address intonation, blend, rhythmic phrasing, singing riffs and embellishments, entrances and cutoffs, voicings, blend, articulation, written arrangements as well as rote or "head" arrangements, stage presence including movement while singing, microphone setting, and microphone technique. Written transcriptions and arrangements or lead sheets of specific arrangements may be assigned. |
Advanced Pop/Rock/Country Vocal Ensembles With Background Vocals | |
| Course Number: | ENVC-421 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | Advanced pop/rock/country performance vocal,ensemble designed to prepare students for solo performance in ensembles and other performing venues within a specific song style. Vocalists will learn how to count off tempos of songs, microphone technique, song style and groove, communication with the accompanist, and lead sheet preparation. |
Advanced Jazz/Blues Vocal Ensemble | |
| Course Number: | ENVC-422 |
| Credits: | 1 |
| Prerequisites: | ENVC-122 and overall ensemble rating 3 |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | Advanced jazz/blues vocal performance ensemble designed to prepare students for solo performance in ensembles and other performing venues within a specific song style. Vocalists will learn how to count off tempos of songs with different grooves and meters and work on arrangements, while developing improvisation skills, microphone technique, stage presence, and communication with the rhythm section. Repertoire will include standards, bebop, fusion, songs without words, and post-1960 jazz compositions. |
Advanced R&B Vocal Ensemble | |
| Course Number: | ENVC-423 |
| Credits: | 1 |
| Prerequisites: | ENVC-123 and overall ensemble rating 3 |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | Advanced r&b vocal performance ensemble designed to prepare students for solo performance in ensembles and other performing venues within a specific song style. Vocalists will learn how to count off tempos of songs, microphone technique, song style and groove, communication with the accompanist, and lead sheet preparation. |
Advanced Pop/Rock/Country Vocal Ensemble | |
| Course Number: | ENVC-424 |
| Credits: | 1 |
| Prerequisites: | ENVC-124 and overall ensemble rating 3 |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | Advanced pop/rock/country performance vocal ensemble designed to prepare students for solo performance in ensembles and other performing venues within a specific song style. Vocalists will learn how to count off tempos of songs, microphone technique, song style and groove, communication with the accompanist, and lead sheet preparation. |
Advanced Vocal Performance Ensemble 2, Mixed Styles | |
| Course Number: | ENVC-431 |
| Credits: | 1 |
| Prerequisites: | ENVC-331 and overall ensemble rating 5 |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | A continuation of ENVC-331 with an emphasis on song interpretation, elements of style, microphone technique, stage presence, and rehearsal techniques. |
Spontaneous Composition Ensemble for Voice | |
| Course Number: | ENVC-432 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | An intermediate to advanced creative vocal improvisation ensemble in which students learn to improvise melody, harmony, rhythm patterns, counterpoint, layering parts articulation, and vocal percussion in solo and small ensemble team formats. Vocalists will perform assigned repertoire incorporating learned improvisation techniques created by instructors. |
Advanced Latin and Jazz Vocal Workshop | |
| Course Number: | ENVC-433 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring |
| Description: | A performance ensemble designed for vocalists wishing to develop skills in the performance of Latin jazz and traditional jazz idioms. Students work with a rhythm section and perform a concert towards the end of the semester. Vocalists will learn how to effectively interact with the rhythm section and develop interpretation and musicianship skills necessary for performance. Topics covered include vocal improvisation as appropriate to song style arrangement tempos grooves and rhythms key and stage presence. |
Musical Theater Chorus | |
| Course Number: | ENVC-470 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | A full chorus designed to support the Musical Theater program. Students will work on choral repertoire in the American musical theatre idiom and perform in an end-of-semester musical and dramatic presentation. |
Vocal Recording Ensemble | |
| Course Number: | ENVC-480 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring, Summer |
| Description: | A vocal recording ensemble focusing on development of the performance skills necessary for effective functioning in the recording studio. Students will have the opportunity to perform in the studio as soloists and background singers. |
American Negro Spirituals | |
| Course Number: | ENVC-P212 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | This course will focus on the learning and performing of SATB (soprano, alto, tenor, and bass) traditional American Negro Spirituals in the style of such groups as the Fisk Jubilee Singers. The emphasis will be on theatrically performing the stories of American Negro Spirituals evolving from the African American experience. Song arrangements and compositions will include John W. Work, Moses Hogan, H.T. Burleigh, and other African American composers. |
Singers Night Performance Ensemble | |
| Course Number: | ENVC-P215 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | Bass, brass, drum set, guitar, hand percussion, piano, woodwind, and vocal principals |
| Offered: | Fall, Spring |
| Description: | Performance ensemble comprised of piano, keyboards, bass, drums, percussion, horns and vocalists. The focus of this class will emphasize the relationship between vocals and band members as well as the supportive and collaborative role of band members. Class meeting times, including rehearsals, may vary according to scheduled final performance. Singers Night concert will occur in the Berklee Performance Center each fall and spring semester. |
Historic Vocal Ensemble | |
| Course Number: | ENVC-P221 |
| Credits: | 1 |
| Prerequisites: | By audition |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring |
| Description: | Vocal ensemble experience that will cover the song materials and styles of vocal groups from the Boswell Sisters through the Manhattan Transfer. This course will include listening assignments, oral and written transcriptions, and a performance. |
A Cappella Ensemble | |
| Course Number: | ENVC-P235 |
| Credits: | 1 |
| Prerequisites: | By audition |
| Course Chair: | Ron Savage |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | This ensemble is available for vocalists. Though participants do not need to be voice principals, they should have the vocal and musicianship training necessary for this type of performance. Students will practice, learn, and perform in one or two concerts per semester. There will be mixed voice and divisi rehearsals as needed. Music will include traditional pieces from early music through contemporary classical music. This ensemble will utilize soprano, alto, tenor, bass voices—four voices per part (two voices per part for divisi)—for sixteen vocalists. This course will also require a piano accompanist. Audition requirements include singing one classical piece with piano accompaniment, as well as singing in a quartet performing briefly rehearsed a cappella music. |
The New Group | |
| Course Number: | ENVC-P335 |
| Credits: | 1 |
| Prerequisites: | Written approval of course instructor |
| Course Chair: | Anne Peckham |
| Required of: | None |
| Electable by: | Voice principals |
| Offered: | Fall, Spring |
| Description: | This course will focus on new a capella vocals in various styles: rock, r&b, gospel, and pop with vocal percussion. The group is designed to be a performing group—including movement and overall presentation. Material content will include student arrangements and some transcriptions. There will be work on dance steps, stage presence, and mic technique, as well as vocal delivery as required by the instructors. A final performance will be required. |
Flute Choir | |
| Course Number: | ENWD-343 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Bill Pierce |
| Required of: | None |
| Electable by: | Flute principals |
| Offered: | Fall, Spring |
| Description: | Rehearsal and performance of traditional literature for flutes with an emphasis on reading and interpretation including flute choir materials for three, four, and five parts. |
Clarinet Choir | |
| Course Number: | ENWD-351 |
| Credits: | 1 |
| Prerequisites: | Ensemble rating 4434 |
| Course Chair: | Bill Pierce |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Rehearsal and performance of traditional literature for clarinets with an emphasis on reading and interpretation. Includes clarinet choir materials in three, four, and five parts. |
Saxophone Quartet | |
| Course Number: | ENWD-361 |
| Credits: | 1 |
| Prerequisites: | Ensemble rating 4434 |
| Course Chair: | Bill Pierce |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | A saxophone ensemble performing a mixture of traditional and 20th-century music for soprano, alto, tenor, and baritone saxophone. |
Advanced Performance Saxophone Quartet | |
| Course Number: | ENWD-375 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 5 (saxophone principals) or saxophone doubling abilities and written approval of course chair (non-saxophone principals) |
| Course Chair: | Bill Pierce |
| Required of: | None |
| Electable by: | Woodwind principals |
| Offered: | Fall, Spring, Summer |
| Description: | Students in this advanced saxophone quartet will focus primarily on preparing for performances, not on sight-reading. The quartet will perform pieces in a broad range of styles from jazz to classical to student and faculty originals. |
Survey of Electroacoustic Music | |
| Course Number: | EP-210 |
| Credits: | 2 |
| Prerequisites: | None |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | An audio/video tour of compositions, performances, and technical developments that inform the diversity of electroacoustic music. Composition genres facilitated by electronic means such as process music, microtonality, ambient, aleatory; and electronic transformations of keyboards, guitars, drums, winds, and voice are explored. Landmark compositions, songs, soundscapes, and performances are placed in a broader context that runs the gamut from early avant-garde through current popular genres. The classroom listening experience is extended via the 50+ page annotated discography designed for long-term study. This course provides a focused introduction to the culture and repertoire of music technology, a requisite for those who intend to work in the field. A selected film that features electronic sound design and/or electroacoustic music is screened during midterm and final exam weeks. |
Studio Technologies | |
| Course Number: | EP-220 |
| Credits: | 2 |
| Prerequisites: | MTEC-111 and either LMSC-208 or LMSC-209, and written approval of course chair |
| Course Chair: | Andrea Pejrolo |
| Required of: | ELPD majors |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | This course provides a comprehensive introduction to the electronic music studio. Emphasis is placed on understanding analog and digital audio concepts, analog and digital signal flow, audio connections and gain-staging, console vs. control surface paradigms, DAW set-up and usage, studio signal flow, the recording process, microphone usage, and signal processors used in recording and mixing. |
Modular Functions and Signal Flow | |
| Course Number: | EP-223 |
| Credits: | 2 |
| Prerequisites: | MTEC-111 and either LMSC-208 or LMSC-209 |
| Course Chair: | Andrea Pejrolo |
| Required of: | ELPD majors |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | Study of principles and use of modules (oscillators, filters, amplifiers, envelope generators) found in software and hardware modular sound production systems. Focus is on observing signal characteristics at outputs, and defining signal functions (audio, control, timing) solely via connections to inputs. "Sonic deconstruction" and other electronic ear training techniques are presented, and correlative original sound designs are produced by students. In addition to class participation, students are supervised in weekly hands-on practice in EP/D labs, where an array of software and hardware systems are available. |
Control Systems in Electronic Production | |
| Course Number: | EP-225 |
| Credits: | 2 |
| Prerequisites: | MTEC-111 and either LMSC-208 or LMSC-209 |
| Course Chair: | Andrea Pejrolo |
| Required of: | ELPD majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | A comprehensive study of MIDI and other control systems in the context of electronic music production. Focus is given to the integration of hardware and software synthesizers, digital audio, and controllers into the sequencing/DAW environment. The MIDI specification and its practical applications in music production and sound design will be explored. A wide range of sequencing projects includes music for commercials, electronica, and performance-oriented control techniques. |
Electronics in the Soundtrack | |
| Course Number: | EP-250 |
| Credits: | 2 |
| Prerequisites: | None |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Focuses on electroacoustic music in the film score. Highlights electronic musical instruments, computer software, and electronic techniques used to create and synchronize music, Foley, SFX (sound effects), and dialogue to picture. Illustrated voluminously with film clips and DVD supplements, from the coming of sound in film (circa 1927) through the modern era. Real time or mediated demonstrations of techniques such as click track, punches and streamers, Pro Tools mix down, pitch shifting, audio reversal, ADR (automated dialogue replacement), etc., are shown in class. This course familiarizes class members with archetypal electroacoustic underscores, industry terminology, and standard practices used to produce sound for picture. It is a useful initiation for those who intend to produce sound/music to picture for feature films, industrials, animation, advertising, and video games. A selected film that features electronic sound design and/or electroacoustic music is screened during midterm and final exam weeks. |
Musical Devices for Media Composers | |
| Course Number: | EP-261 |
| Credits: | 2 |
| Prerequisites: | EP-225 or MP-225 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | A study of composition devices such as hemiola, stretto, polymeter, canon, augmentation/diminution, antiphony, pointillism, streaming, hocketing, ostinato, spatialization, etc. used by professional electronic media (e.g., video game, film score, telecommunications, internet) composers and sound designers. Harmony and its devices are not considered. Students are challenged to show how the classic devices of music composition can be extended using electronic technology. Participants compose original sound sketches, and a longer digital audio/MIDI production that illustrate fluency with the musical devices presented in class. Class members also excerpt commercially available music of their choice that features discernible musical devices, and group analyses are developed in class. |
Digital Mix Techniques | |
| Course Number: | EP-320 |
| Credits: | 2 |
| Prerequisites: | EP-220, EP-223, and EP-225 |
| Course Chair: | Andrea Pejrolo |
| Required of: | ELPD majors |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | Based on the concepts and skills learned in EP-220 Studio Technologies, this course places a primary emphasis on the improvement of student productions through effective mixing techniques. Mix balance, equalization, dynamics, and other signal processing techniques will be explored and applied to a series of projects. Genre-specific techniques will be discussed, in addition to electronic music styles and sound design scenarios. |
Control Systems in Advanced Production | |
| Course Number: | EP-321 |
| Credits: | 2 |
| Prerequisites: | EP-220, EP-223, and EP-225 |
| Course Chair: | Andrea Pejrolo |
| Required of: | ELPD majors |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | An advanced project-oriented course focused on the mastery of an integrated electronic production environment using a wide variety of hardware and software. Emphasis is placed on advanced techniques in MIDI sequencing with audio production. These techniques are applied in a series of projects including orchestral emulation, music and sound design for animation, and remixes of existing vocal tracks. Supporting topics include advanced real-time control of synthesis parameters, manipulation of musical time and tempo, and effectively working with various rhythmic feels. Special attention will be paid to integrating hardware instruments and controllers in a software-based DAW production environment. |
Advanced Sound Design Techniques | |
| Course Number: | EP-322 |
| Credits: | 2 |
| Prerequisites: | EP-220, EP-223, and EP-225 |
| Course Chair: | Andrea Pejrolo |
| Required of: | ELPD majors |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | This advanced course expands upon the concepts and techniques learned in EP-223 Modular Functions and Signal Flow. Concentrated ear training and patch dictation helps students to identify and create unusual and dynamic instrumental sounds and sound effects, and their applications in live performance, film, electronic music production, and video game audio. |
Interactive Media Portfolio | |
| Course Number: | EP-326 |
| Credits: | 2 |
| Prerequisites: | EP-320, EP-321, and EP-322 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | This course is a portfolio development workshop focusing on interactive media. Weekly assignments will build fluency in file formats, encoding tools, and authoring platforms. Through successful completion of these projects, students will become adept in the basics of video preparation, audio for online and DVD formats, and Flash interface design. |
Indian Music Concepts in Electronic Production | |
| Course Number: | EP-330 |
| Credits: | 2 |
| Prerequisites: | EP-320, EP-321, and EP-223 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring |
| Description: | A creative study of the musical aesthetics involved with composing and arranging in a wide range of popular Indian musical genres, including pop songs, remix hits, and classical forms. Utilizing a variety of electronic programming and production techniques, students will complete a series of guided projects that effectively demonstrate the contemporary application of Indian ragas, musical instrumentation, and popular stylistic repertoire. |
Mapping and Curves in Sonic Arts | |
| Course Number: | EP-335 |
| Credits: | 2 |
| Prerequisites: | EP-322 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall |
| Description: | A global study of curves, graphic displays, and mapping techniques that undergird practical use of electronic sound production systems. Focuses on aural and visual aids to understanding rather than taking a purely mathematical approach. Topics include principles of linearity and nonlinearity in: relationships and functions; input responses and attenuator calibrations; pitch vs. frequency shifting; AM and FM sideband production; and envelope generator segment curves. Creative mapping using logic gates (AND, OR, NOR, etc.) is introduced. Graphic displays in selected software applications are examined to reveal the curves implicit when waveform and spectrum are represented. This course presents the pervasive graphical-mathematical elements common to digital audio applications and their displays, and facilitates advanced studies in sonic arts. |
Programming, Sound Design, and Composition in Csound | |
| Course Number: | EP-337 |
| Credits: | 2 |
| Prerequisites: | EP-223 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | This is a class in electronic production and design using Csound, one of the world's most powerful and versatile software synthesizers and signal processors. At the algorithmic level, students will design and compose using classic synthesis techniques such as additive, subtractive, waveshaping, wavetable, granular, scanned, RM, AM, PM, FM, FOF, and physical modeling. Students will learn how this powerful software synthesisizer language has been applied in game audio, sound design for TV, film, advertising, and graduate research in computer music and music perception. |
Electronic Composition and Sound Design for Commercial Production | |
| Course Number: | EP-339 |
| Credits: | 2 |
| Prerequisites: | EP-223 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | This course will provide the opportunity for students to gain experience working in situations which typify the demands of a commercial production environment. This will include: composing in a wide variety of idioms, to specific stylistic direction, and under common constraints that affect commercial music composition. The emulation of these styles will require drawing upon the skills of a synthesist, engineer, and producer as well as those of composer and orchestrator. This course will confront the student with the issues and problems common to the working composer, music producer, and small studio owner. |
Speech and Vocal Synthesis | |
| Course Number: | EP-340 |
| Credits: | 2 |
| Prerequisites: | EP-223 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | An overview of the electronically produced/processed voice, with exploration of: human voice mechanics; formants in speech and singing; time-stretching granular techniques; channel and phase vocoders; parametric EQ; and formant (fixed) filters. Theoretical underpinnings and practical examples of the transformative power of convolution are presented. Synergistic "dymaxion" music composition approaches that exercise elements learned in class are suggested, as alternatives to familiar software sequencer production. Students are provided weekly hands-on access to EP/D labs, where a variety of software and hardware systems are available. This course culminates in a public concert, and is suitable for those who recognize the central role that electronically produced and processed voices play in: video games; animation; advertising; contemporary song writing; and telecommunications. |
Programming Interactive Audio Software and Plugins in Max/MSP | |
| Course Number: | EP-341 |
| Credits: | 2 |
| Prerequisites: | EP-320, EP-321, and EP-322 |
| Course Chair: | Andrea Pejrolo |
| Required of: | ELPD Majors |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | A class in Electronic Production and Design using Max/MSP, arguably one of the world's most powerful and intuitive multimedia programming languages. Students will prototype, design, and program stand-alone audio applications and VST plugin versions of wind chimes, music boxes, softsynths, samplers, drum machines, groove boxes, audio processors, and remixers and learn to control them with game controllers such as the Nintendo wiiMote. Students will apply algorithmic composition techniques to the systems that they design, and learn to utilize noise, fractals, and chaos as a means of humanizing their software creations. The class culminates in a public laptop jam session using the original software designed by the students. |
Advanced Studies in Digital Sampling Techniques | |
| Course Number: | EP-351 |
| Credits: | 2 |
| Prerequisites: | EP-322 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | This course focuses on the study of the generation of original, exotic sound textures and unusual synthetic instrumental timbres derived from acoustic sounds recorded from studio and field sources. Digital signal processing and studio production techniques as used by the industry's top game and film sound designers are discussed and practiced. |
Programming Audio Applications and Plugins in C, C++, and Objective-C | |
| Course Number: | EP-353 |
| Credits: | 2 |
| Prerequisites: | EP-322 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | A class in C programming with projects tailored specifically to the progressive electronic musician. Working initially from the Terminal application, using the GNU Compiler Collection on Mac OS X, and later with Apple's XCODE Integrated Developer Environment (IDE), the student will write musical programs and audio units that do algorithmic composition, software synthesis, and signal processing. This software engineering class is the first step toward the design of one's own custom synthesis and signal processing tools; and as such, will provide both a marketable technical skill as well as satisfying a highly regarded and often required prerequisite for graduate programs in computer music and music technology. |
Composition Workshop | |
| Course Number: | EP-371 |
| Credits: | 2 |
| Prerequisites: | EP-223 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | This class provides the student with an opportunity to create portfolio pieces of original compositions using software and hardware tools. We will study a variety of approaches to composing and realizing works with an emphasis on developing the use of line, rhythm, harmony, orchestration and form. Weekly assignments include electronic realization of musical excerpts, readings by composers, listening, and analysis. Technical topics will be explored by the group as needed. |
Sound Design for Animation | |
| Course Number: | EP-373 |
| Credits: | 2 |
| Prerequisites: | EP-321 and EP-322 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Spring |
| Description: | A project-based course covering basic design principles and production techniques used in producing sound for animation. Students will work in collaboration with senior animation students at the Massachusetts College of Art to produce three short animation projects. Animation is a part of practically every form of entertainment that uses visual elements, from feature films and television programs to video games and websites. Most, if not all, musicians will work with this medium at some point in their career. Class meetings will explore the historical roots of sound and music for animation through screenings, case studies, and assigned readings. From this, students will develop the skills necessary to analyze an animation and create a variety sound elements: music, sound effects, and vocal elements. At various times throughout the semester, the class will meet at MassArt in joint meetings with student animators for directed review of their work. |
Digital Audio Production and Design | |
| Course Number: | EP-381 |
| Credits: | 2 |
| Prerequisites: | EP-320, EP-321, and EP-322 |
| Course Chair: | Andrea Pejrolo |
| Required of: | ELPD majors |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | This course challenges students to design and produce audio content for a series of projects. Utilizing the studio and lab resources of the department, students will produce content that ranges from spoken word to sound and music mixed in surround. Students are introduced to techniques and applications that are essential for pursuit of a variety of professional opportunities in the areas of sound design and audio production for film, video games, TV, and radio, as well as all types of music production. |
Physical Computing, Circuit Bending, and Alternative Controllers | |
| Course Number: | EP-391 |
| Credits: | 2 |
| Prerequisites: | EP-321 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | Using Ableton Live, Reaktor, Max, Jitter, OSC, Csound, and C, students design and program their own interactive games and audio/video remixers. These systems use the department's cutting edge collection of MIDI and wireless controllers: the Mathews Radio Baton, Buchla Lightning, Haiken Continuum, Lemur, AudioCubes, Monome, and the iPhone; sensor systems such as the iCube, MIDItron, and IBVA BrainWave-to-MIDI Interface; and game controllers such as the P5 DataGlove and the Nintendo wiiMote. This class also focuses on electronics and circuit-bending. Students breadboard and build a custom analog synth; they modify and extend several sound-making toys; and they add photocells to their Oxygen8 keyboards. The class culminates in a public interactive audio installation and circuit-bent jam session using the original software, synths, controllers, and systems designed by the students. |
Advanced Seminar | |
| Course Number: | EP-401 |
| Credits: | 2 |
| Prerequisites: | EP-326 and EP-381 |
| Course Chair: | Andrea Pejrolo |
| Required of: | ELPD majors |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | A precursor to EP-491, Advanced Seminar combines master class and private lesson settings for the electronic production and design major. Master class topics include group assessment of each student's portfolio work, group critiques, and technical instruction as needed. Assessment and analysis tools are provided to discuss music composition/production as well as the integration of music and sound design for picture and games. Business and career preparations will also be discussed. The private lesson component allows each student to develop skills and musicianship with direct mentoring from the instructor. |
Digital Signal Processing: Theory and Composition | |
| Course Number: | EP-413 |
| Credits: | 2 |
| Prerequisites: | EP-322 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | A theoretical and practical exploration of open-source digital signal processing software, audio-units, and plugins. Student projects focus on the innovative production, remixing, and compositional use of pitch shifting, time scaling, phase vocoding, spectral filtering, cross-synthesis, and convolution. In addition to composing avant-garde DSP-based audio art, students will learn how to use these powerful techniques to design new and unique sounds for advertising, film, television, animation, and games, and produce experimental and innovative pop. |
Digital Signal Processing for Music Production and Postproduction | |
| Course Number: | EP-414 |
| Credits: | 2 |
| Prerequisites: | EP-381 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | A practical exploration of digital signal processing music and sound design projects, including composition, remixing, and mastering, with emphasis on key techniques of DSP and their applications in audio production. The class explores the implementation and application of common DSP functions in software applications, and how they are effectively applied in these projects. |
Interactive Video Programming and Performance | |
| Course Number: | EP-426 |
| Credits: | 2 |
| Prerequisites: | EP-341 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | This class provides the student with an opportunity to create visual projections for their original compositions using MAX/MSP/Jitter and other programs as needed. We will study a variety of approaches to creating interactive video for music performance, installation, and net-art works. Students will then create software and art works using audio, video, and various controllers for input. Weekly assignments will include reading, programming projects, and short live performances. The final project can be a performance or installation using original software. |
Physical Modeling and Additive Synthesis | |
| Course Number: | EP-431 |
| Credits: | 2 |
| Prerequisites: | EP-322 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | An exploration of excitation/resonance models of sound production: Karplus-Strong (string), brass, and woodwind modeling using digital signal processing in a dedicated hardware environment; use of software-based modeling for pedagogical purposes; exploration of Fourier or additive synthesis and formant theory in a hardware environment. |
Experimental and Avant-Garde Electronic Composition | |
| Course Number: | EP-461 |
| Credits: | 2 |
| Prerequisites: | EP-322 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | This course explores an expansive set of historically innovative academic works, which students translate into cutting-edge commercial approaches to composition and production. The student will compose a graduate school application portfolio of modal, serial, atonal and microtonal audio art based on and inspired by the analysis of masterworks in the following genres: ambient, minimal, glitch, sound object, soundscape, and sound collage. Through listening, modeling, and formal musical analysis of both alternative pop and mainstream acousmatic masterworks, each student comes to better understand the creative process and their unique personal creative process; and along the way discovers and cultivates a more personal and original musical voice. |
Advanced Projects in Electronic Production and Design | |
| Course Number: | EP-491 |
| Credits: | 2 |
| Prerequisites: | EP-401, completion of 8 credits of ELPD electives, and written approval of instructor and course chair |
| Course Chair: | Andrea Pejrolo |
| Required of: | ELPD majors |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | This course focuses on production of the capstone Electronic Production and Design project and provides for individual attention within a small group setting. The specific nature of the project will be determined by written agreement between student and instructor. Each student will also be required to participate in the jury process as well as the Senior Showcase at the end of the semester. |
Electronic Production and Design Internship | |
| Course Number: | EP-495 |
| Credits: | 2 |
| Prerequisites: | Written approval of course chair and EP-223 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring, Summer |
| Description: | Monitored and evaluated professional work experience in an environment related to the electronic production and design major. Placement is limited to situations available from or approved by the Office of Experiential Learning and the Electronic Production and Design department chair or designee. To apply for an internship, students must see the internship coordinator in the Office of Experiential Learning prior to registering. Note: Equivalent credit for prior experience is not available due to the requirement of concurrent contract between the employer/supervisor and the college. International students in F-1 status must obtain authorization on their Form I-20 from the Counseling and Advising Center prior to beginning an internship. |
Live Performance Techniques for Electronic Musicians | |
| Course Number: | EP-P350 |
| Credits: | 2 |
| Prerequisites: | Take EP-320, EP-321 and EP-322 |
| Course Chair: | Andrea Pejrolo |
| Required of: | None |
| Electable by: | ELPD majors |
| Offered: | Fall, Spring |
| Description: | This course will examine the technical and creative processes involved with adapting electronic composition and production for live performance. Topics to be covered include the development of repertoire in various electronic genres, set organization and improvisational strategies, hardware and software integration, expressive real-time control, and considerations for solo and ensemble stage presentation. |
Ear Training 1 | |
| Course Number: | ET-111 |
| Credits: | 2 |
| Prerequisites: | None |
| Course Chair: | Allan Chase |
| Required of: | All |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Development of basic ear training skills through performance and dictation. Study of melodies, intervals, harmony, and solfege in major keys. Study of basic rhythms in the most common meters. |
Ear Training 2 | |
| Course Number: | ET-112 |
| Credits: | 2 |
| Prerequisites: | ET-111 |
| Course Chair: | Allan Chase |
| Required of: | All |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Continuation of ET-111 Ear Training 1. Development of basic ear training skills through performance and dictation. Study of melodies, intervals, harmony, and solfege in minor keys. Continued study of rhythms, meters, conducting patterns, and notation. |
Ear Training 3 | |
| Course Number: | ET-211 |
| Credits: | 2 |
| Prerequisites: | ET-112 |
| Course Chair: | Allan Chase |
| Required of: | All students not taking ET-231 |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Development of ear training skills through performance and dictation. Study of melodies, intervals, harmony, and solfege in Lydian, Mixolydian, Dorian, and Phrygian modes, mixed modes, and harmonic and melodic minor. Continued study of rhythms, meters, conducting patterns, and notation. |
Ear Training 4 | |
| Course Number: | ET-212 |
| Credits: | 2 |
| Prerequisites: | ET-211 |
| Course Chair: | Allan Chase |
| Required of: | All students not taking ET-232 |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Continuation of ET-211. Modal singing and dictation studies. Interval studies, two- and three-part dictation. Basic atonal melodic studies. |
Solfege 1 | |
| Course Number: | ET-231 |
| Credits: | 2 |
| Prerequisites: | ET-112 |
| Course Chair: | Allan Chase |
| Required of: | All students not taking ET-211 |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Development of sight-singing skills using the traditional movable "do" method. Drills in rhythm, interval, and pitch. Singing exercises in major keys through four sharps and four flats in G and F clefs. Some studies in minor keys. Harmonic studies. Part singing. Contrapuntal and harmonic dictation. |
Solfege 2 | |
| Course Number: | ET-232 |
| Credits: | 2 |
| Prerequisites: | ET-231 |
| Course Chair: | Allan Chase |
| Required of: | All students not taking ET-212 |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Continuation of ET-231. Sight-singing and harmonic studies in all major and minor keys. C clef drills. Rhythm patterns of increased complexity. |
World Music Ear Training | |
| Course Number: | ET-321 |
| Credits: | 2 |
| Prerequisites: | ET-112 |
| Course Chair: | Allan Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | This course focuses on a variety of rhythmic patterns, percussive ostinatos, and melodic repertoire from around the world, with an emphasis on African, Caribbean, and South American traditional and popular music, as well as South Indian classical, Balkan, and Middle Eastern genres. In-class activity includes vocalization and rhythmic externalization exercises based on particular musical examples, general listening and aural analysis, and transcription of selected elements of a musical texture. Students examine music from the perspective of musical cognition, including the potential impact of cultural background on the formation of one's mental representation and the analysis of "ambiguous" musical structures. Homework assignments entail full or partial transcriptions of rhythmic and melodic elements, as well as exercises involving melodic solfege and rhythmic recitation designed to enhance a student's internal sense of time, pitch, and physical independence through singing or speaking of melody and rhythm in the context of its underlying essential metrical structure. |
Harmonic Ear Training 1 | |
| Course Number: | ET-331 |
| Credits: | 2 |
| Prerequisites: | HR-112 and ET-112 |
| Course Chair: | Allan Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | This course will work within the limited scope of progressions including simple root position diatonic harmony, inversions, secondary and extended dominants, II-V patterns, and passing diminished chords. Chord voicings containing one tension will also be covered. This course will include several activiites that address application to "real music" situations. |
Harmonic Ear Training 2 | |
| Course Number: | ET-332 |
| Credits: | 2 |
| Prerequisites: | ET-331 |
| Course Chair: | Allan Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | This course is a continuation of ET-331. Chord progressions will be more intermediate to complex in nature. The concepts of modal interchange harmony, substitute dominants, and modulation will be introduced. Voicings containing multiple tensions and upper structure triads will also be covered. More extensive transcription work of "real music" will be incorporated. |
Rhythmic Ear Training | |
| Course Number: | ET-341 |
| Credits: | 2 |
| Prerequisites: | ET-112 |
| Course Chair: | Allan Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Touching on a variety of contemporary styles such as pop/r&b, jazz, fusion, Latin music, and classical genres as resources for weekly in-class analysis, transcription, and solfege exercises, this course enhances theoretical understanding, aural perception, and performance of rhythm in music. Emphasis is placed on accurate and meaningful interpretation and notation of a piece's rhythmic components, e.g., polyrhythmic percussion grooves, syncopated melodic lines, characteristic comping patterns, or large-scale harmonic rhythms. Furthermore, the cognitive process involved in the construction of a resultant metrical perspective will be discussed. Sight-reading and general rhythmic comprehension are challenged through a series of exercises and drills featuring odd-time patterns and polyrhythmic independence between the voice and the body, as well as advanced studies of mixed subdivisions. The intent is to strengthen internal coordination of multiple rhythmic voices, as well as sharpen one's precision and clarity when performing. |
Fundamentals of Transcription | |
| Course Number: | ET-351 |
| Credits: | 2 |
| Prerequisites: | ET-211 or ET-231 |
| Course Chair: | Allan Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | A course designed to teach the student how to transcribe instrumental and vocal recorded material as found in jazz, pop, and rock. Techniques for transcribing melody, harmony, and bass lines. This course is especially recommended for those students wishing to extend their skills in identifying chord progressions and rhythms. |
Advanced Ear Training 1 | |
| Course Number: | ET-411 |
| Credits: | 2 |
| Prerequisites: | ET-212 or ET-232 |
| Course Chair: | Allan Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Singing and aurally identifying intervals in tonal and nontonal situations. Intended to bridge the gap between relative pitch and hearing by interval alone. Preparation for singing atonal music. |
Advanced Ear Training 2 | |
| Course Number: | ET-412 |
| Credits: | 2 |
| Prerequisites: | ET-411 |
| Course Chair: | Allan Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Continuation of ET-411. |
Atonal Solfege 1 | |
| Course Number: | ET-421 |
| Credits: | 2 |
| Prerequisites: | ET-212 or ET-232 |
| Course Chair: | Allan Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | A continuation of solfege that concentrates on atonal music. Sol-fa syllables are not used. Please note that this course is recommended for students who have a high potential in nontonal intervallic solfege. |
Atonal Solfege 2 | |
| Course Number: | ET-422 |
| Credits: | 2 |
| Prerequisites: | ET-421 |
| Course Chair: | Allan Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Spring |
| Description: | Continuation of ET-421, including the choral works of Webern. |
Popular Song Transcription | |
| Course Number: | ET-441 |
| Credits: | 2 |
| Prerequisites: | ET-212, ET-232, or ET-351 |
| Course Chair: | Allan Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Designed to teach the student how to transcribe songs and arrangements in current popular music. Most projects are chosen by the student in his/her area of musical interest. Project presentation in class. |
Jazz Solo Transcription | |
| Course Number: | ET-451 |
| Credits: | 2 |
| Prerequisites: | ET-212, ET-232, or ET-351 |
| Course Chair: | Allan Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Transcription of recorded jazz solos from various periods. Classroom analysis and discussion. |
Advanced Modal Ear Training | |
| Course Number: | ET-P461 |
| Credits: | 2 |
| Prerequisites: | ET-212 and HR-211 |
| Course Chair: | Allan Chase |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Traditional modes will briefly be reviewed and the basic techniques of practice and performance will be learned. Students will then learn and perform nontraditional/hybrid modes. Examples of modes (please note that each example has alternate names) to be studied include Hungarian Major, Spanish Phrygian, Octatonic, Arabic, Whole Tone, Hindu, Super Locrian, Lydian b7, Japanese, and Hungarian Minor. |
Introduction to Film Scoring | |
| Course Number: | FS-221 |
| Credits: | 2 |
| Prerequisites: | LENG-111 |
| Course Chair: | Dan Carlin |
| Required of: | FILM majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Investigation of the aesthetic relationship between film and music. Discussion of the many functions of film music with analysis of its most effective application to dramatic situations. Exploration of career opportunities in film and television music. |
History of Film Music | |
| Course Number: | FS-231 |
| Credits: | 2 |
| Prerequisites: | FS-221 |
| Course Chair: | Dan Carlin |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | A survey of music in feature-length films from the silent period to the present day. An overview of stylistic scoring approaches that represent the most significant developments in the field. Discussion of works of composers who have contributed extensively to the development of film music, including representatives of newer trends in recent years. Extensive visual examples will be combined with independent aural analysis of a wide range of scores. |
Analysis of Dramatic Scoring | |
| Course Number: | FS-241 |
| Credits: | 2 |
| Prerequisites: | FS-221, CM-221, CM-231, CP-215, and ISKB-212 (non-piano principals); either COND-211, COND-221, or COND-216; HR-212; and ET-212 or ET-232; FS-241 must be taken concurrently with FS-361 |
| Course Chair: | Dan Carlin |
| Required of: | FILM majors |
| Electable by: | FILM majors |
| Offered: | Fall, Spring, Summer |
| Description: | This course combines analysis and composition elements in order to provide students with the basic musical skills necessary for composing music for film. Course work includes in-depth analysis of existing musical examples, which demonstrate the building blocks of composition, including melody, harmony, rhythm, and form, as applied to specific dramatic situations. Students will compose several short original examples modeled after the various analysis examples presented. |
The Language of Film | |
| Course Number: | FS-251 |
| Credits: | 3 |
| Prerequisites: | FS-221 and LENG-201 |
| Course Chair: | Dan Carlin |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | This course provides film scoring majors with an introduction to how film makes visual and narrative meaning through the language of film, which includes camera, frame composition, lighting, production design, acting styles, editing, dialogue, plot, genre, themes, sound, and point of view. Students will learn to "read" and analyze film from a film studies perspective. Written assignments and in-class activities will reinforce writing, reading, and oral communication skills, with the goal of strengthening students' abilities to communicate with directors. |
Analysis of Video Game Music Techniques Music | |
| Course Number: | FS-271 |
| Credits: | 2 |
| Prerequisites: | MTEC-111 |
| Course Chair: | Dan Carlin |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | This course provides students a thorough overview of the history, theory, aesthetics, and application of interactive scoring along with an introduction to the video game and interactive industries, including career opportunities, contracts, licensing, practices, and toolsets. The course includes analysis of interactive music as found in video games, the internet, installations, sound art, and concert composition. This course can stand alone or serve as the first in a series of three courses that make up part of the Video Game Scoring Minor. |
Film Music Composition Seminar | |
| Course Number: | FS-311 |
| Credits: | 1 |
| Prerequisites: | FS-241 and FS-361 |
| Course Chair: | Dan Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Fall, Spring |
| Description: | Intended as a complement to FS-341 and/or FS-441, this course is designed to provide a link between composition and scoring techniques by addressing specific challenges of dramatic music composition. Application of compositional devices intended to help advance the drama; exploration of different concepts and methods as creative music resources for current and future scoring assignments. |
Dramatic Orchestration for Film | |
| Course Number: | FS-340 |
| Credits: | 2 |
| Prerequisites: | FS-241, FS-361, CP-213, and either COND-212, COND-217, or COND-222; FS-341 must be taken concurrently with FS-340 |
| Course Chair: | Dan Carlin |
| Required of: | FILM majors |
| Electable by: | FILM majors |
| Offered: | Fall, Spring, Summer |
| Description: | This course focuses on the exploration and application of traditional and contemporary orchestration techniques to support and achieve intended dramatic effect. Regular assignments involve the use of orchestration as an important compositional tool to successfully meet the emotional requirements of a wide variety of dramatic situations. |
Scoring Techniques for Film and Video | |
| Course Number: | FS-341 |
| Credits: | 2 |
| Prerequisites: | FS-241, FS-361 CP-213, and either COND-212, COND-217, or COND-222; FS-340 must be taken concurrently with FS-341 |
| Course Chair: | Dan Carlin |
| Required of: | FILM majors |
| Electable by: | FILM majors |
| Offered: | Fall, Spring, Summer |
| Description: | The technical and aesthetic aspects of composing and recording music for picture using various synchronization methods: to a click provided by a MIDI sequencer and to a studio clock or stopwatch. Film and video formats, measurements, and conversions, as well as scoring procedures and rehearsal techniques will be covered. Students will compose and record three projects: sequenced, sequenced combined with live players, and a free timed-to-clock project using a live ensemble. |
Master Film Composers | |
| Course Number: | FS-343 |
| Credits: | 2 |
| Prerequisites: | FS-241 |
| Course Chair: | Dan Carlin |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall |
| Description: | Throughout the history of film, a handful of composers have had an extraordinary and formative impact on the art of film scoring. Composers such as Bernard Herrmann, Jerry Goldsmith, and more recently, Thomas Newman, have invented, extended, or defined the grammar and vocabulary of film music. This course will take a full semester to closely examine the work and career of one composer in a rotating set of seminal figures in film scoring history. By studying their work, their impact on film music language, and how their careers developed, students will gain valuable lessons in the art and profession of film scoring. |
Computer/Synthesis Applications for Film Scoring | |
| Course Number: | FS-361 |
| Credits: | 2 |
| Prerequisites: | FS-221, CM-221, CM-231, CP-215, and ISKB-212 (non-piano principals); HR-212; ET-212 or ET-232; and either COND-211, COND-216, or COND-221; FS-361 must be taken concurrently with FS-241 |
| Course Chair: | Dan Carlin |
| Required of: | FILM majors |
| Electable by: | FILM majors |
| Offered: | Fall, Spring, Summer |
| Description: | The use of MIDI/audio sequencing in scoring to picture, in conjunction with sample playback and synthesis software. Special attention is paid to the film scoring capabilities of Macintosh sequencing applications using QuickTime, tempo, meter, and synchronization in the process of scoring music to picture. Emphasis is also placed on maximizing dramatic expression through use of the available software tools. |
Interactive Scoring for Video Games | |
| Course Number: | FS-371 |
| Credits: | 2 |
| Prerequisites: | FS-271 and one of the following: FS-361, CW-361, or EP-371 |
| Course Chair: | Dan Carlin |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | This course features applied approaches to scoring for video games and builds upon the foundations learned in FS-271. It presents a solid understanding of the knowledge and skills needed to prepare students for entry-level work at a game development company or as a freelance game music professional, including experience with typical game music workflow and approaches to scoring video games. This is an intensive scoring course including collaborations with game design programs and weekly or biweekly scoring assignments. |
Film Music Editing 1 | |
| Course Number: | FS-375 |
| Credits: | 2 |
| Prerequisites: | CM-311, FS-340, and FS-341; FS-375 must be taken concurrently with FS-441 |
| Course Chair: | Dan Carlin |
| Required of: | FILM majors |
| Electable by: | FILM majors |
| Offered: | Fall, Spring, Summer |
| Description: | A technical course designed to give composers practical experience in the area of music editing for a scored film and temp-tracked film project. Class instruction and weekly private lab work will include the preparation of all documents involved in music postproduction, as well as various techniques used when synchronizing and editing music to picture on a digital audio workstation. |
Film Scoring Techniques for Composers | |
| Course Number: | FS-391 |
| Credits: | 2 |
| Prerequisites: | COND-211 or COND-216; FS-221, CM-212, and CP-212, and either PW-161 or EP-225 or MP-225 |
| Course Chair: | Dan Carlin |
| Required of: | None |
| Electable by: | All except FILM majors |
| Offered: | Fall |
| Description: | This course is intended to give non-film scoring majors an overview of the mechanics of synchronization and the psychological implications of applying music to film. Analysis of special dramatic situations will be followed by applications of scoring and synchronization techniques. |
Stylistic Adaptation in Film Scoring | |
| Course Number: | FS-433 |
| Credits: | 2 |
| Prerequisites: | CM-311, FS-340, and FS-341 |
| Course Chair: | Dan Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Spring |
| Description: | This course will address the prevalent and recurrent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting and/or specific ethnic locale of a screenplay. Approaches to research and adaptation of authentic musical styles will be discussed. (Such styles include, for example, 17th-century European, African, 1920s American, etc.). Careful attention to instrumentation, arranging, orchestration, and dramatic theme development will be stressed. Assignments representing realistic situations will be recorded synchronously to the specific needs of film scenes. |
Scoring the Moment | |
| Course Number: | FS-435 |
| Credits: | 2 |
| Prerequisites: | FS-340 and FS-341 |
| Course Chair: | Dan Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Fall |
| Description: | In this course, students will examine and explore the challenges posed to a composer in addressing certain classic moments that occur as standard fare in dramatic and comedic films. Such moments include, but would not be limited to, The Kiss, The Revelation, The Chase, The Punch Line, The Victory, The Hero's Death, etc. The typical class session will be divided between a critical review of the previous week's writing assignment and a lecture on the next moment to be examined and scored. Lectures will be far-ranging, and examples will be drawn from the work of prominent film and TV composers. Students will learn how to confront the challenges posed by such parameters as limited budgets, period settings, anticipated sound effects, docudramatics, etc. |
Advanced Scoring Techniques for Film and Video | |
| Course Number: | FS-441 |
| Credits: | 2 |
| Prerequisites: | CM-311, FS-340, and FS-341; FS-375 must be taken concurrently with FS-441 |
| Course Chair: | Dan Carlin |
| Required of: | FILM majors |
| Electable by: | FILM majors |
| Offered: | Fall, Spring, Summer |
| Description: | This course will provide opportunities for scoring scenes with a wide range of dramatic and technical requirements. A combination of material from FS-341 combined with advanced techniques from the course (scoring to picture, special and variable clicks, segue/overlays/sweeteners), will be employed in the scoring assignments. All recorded projects will be conducted by the composers and screened for faculty evaluation. These assignments will also form the basis of a portfolio which will be compiled and submitted in FS-487 as partial requirements for graduation. |
Advanced Computer Applications for Film/Video Scoring | |
| Course Number: | FS-461 |
| Credits: | 2 |
| Prerequisites: | FS-361 and FS-241 |
| Course Chair: | Dan Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Fall, Spring, Summer |
| Description: | An examination of advanced film scoring functions available in various software applications. Mac applications include Digital Performer, Logic Pro, Kontakt, and Reason. Requires the use of multi-computer workstation setups: Mac for sequencing, PC for sample or software synthesis playback, Kontakt or GigaStudio for various sample libraries, as well as V-Stack as a host for VST instruments. Scoring projects include a cartoon, TV commercial, and video game footage. |
Contemporary Techniques in Film Scoring | |
| Course Number: | FS-468 |
| Credits: | 2 |
| Prerequisites: | CM-311, FS-340, and FS-341 |
| Course Chair: | Dan Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Fall, Spring |
| Description: | This course focuses on the new musical and technological techniques and aesthetics of contemporary film composing. The use of synthesizers and sound design, computers and advanced sequencing techniques, rock, pop, and other nontraditional music in the film scoring process, and the contemporary aesthetics of modern filmmakers and audiences will be investigated. |
Advanced Scoring and Implementation for Video Games | |
| Course Number: | FS-471 |
| Credits: | 2 |
| Prerequisites: | FS-371 |
| Course Chair: | Dan Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Fall, Spring |
| Description: | This course continues to build on the foundations learned in FS-371. It features advanced approaches to scoring for video games, including implementation using middleware such as XACT, Wwise, and Fmod. It includes examples, guest speakers, and applied scoring to develop the knowledge and skills that games composers and implementers are using in today's industry. This course deepens the preparation of students for entry level work in music at a game development company or as a freelance game music professional, including experience with typical game music workflow using version control technologies. |
Advanced Film Music Editing | |
| Course Number: | FS-475 |
| Credits: | 2 |
| Prerequisites: | FS-375 |
| Course Chair: | Dan Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Fall, Spring, Summer |
| Description: | An advanced music editing course dealing with standard film and television industry procedures. Intended for the student who demonstrates technical fluidity with editing equipment and who intends to pursue a career in this field. Emphasis is on the responsibilities of a music editor for the scored film, from temp tracks and spotting through dubbing. Instruction will include digital editing techniques on a multitrack digital audio workstation, as well as the necessary preparations for delivering music to the dubbing stage in various surround sound formats. |
Film Scoring Practicum | |
| Course Number: | FS-481 |
| Credits: | 2 |
| Prerequisites: | Take FS-340, FS-341 and written approval of course chair |
| Course Chair: | Dan Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Fall, Spring |
| Description: | A real-world immersion course in which students learn about aspects of film scoring that go beyond composition and production by scoring actual student films. These will include one collaboration with a music production and engineering student who is creating sound design, as well as at least one student film from a local college. Some of these student films will be provided through the professors; however, students will be able to find their own films if they wish. Lectures and discussions will consist of real-world examples of how the director-composer relationship works, as well as critiques of student projects and processes. Admission to the course is by application. |
Senior Portfolio and Seminar in Film Scoring | |
| Course Number: | FS-487 |
| Credits: | 2 |
| Prerequisites: | FS-441 and FS-375 |
| Course Chair: | Dan Carlin |
| Required of: | FILM majors |
| Electable by: | FILM majors |
| Offered: | Fall, Spring, Summer |
| Description: | This course focuses on production of the capstone film scoring projects and graduation portfolio, and provides for individual attention within a small group setting. Career planning, relevant business aspects, and the film and television industry's expectations of the composer/music editor also will be discussed both in the small group meetings with the listed faculty, and in weekly seminars with faculty and visiting artist guest speakers. |
Film Scoring Internship | |
| Course Number: | FS-495 |
| Credits: | 2 |
| Prerequisites: | Sixth-semester standing and written approval of the course chair |
| Course Chair: | Dan Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Fall, Spring, Summer |
| Description: | Monitored and evaluated professional work experience in an environment related to the film scoring major. Placement is limited to situations available from or approved by the Office of Experiential Learning and the Film Scoring Department chair or designee. To apply for an internship, students must see the internship coordinator in the Office of Experiential Learning prior to registering. Note: Equivalent credit for prior experience is not available due to the requirement of concurrent contract between the employer/supervisor and the college. International students in F-1 status must obtain authorization on their Form I-20 from the Counseling and Advising Center prior to beginning an internship. |
Scoring Silent Films | |
| Course Number: | FS-P485 |
| Credits: | 2 |
| Prerequisites: | Take FS-340, FS-341, and written approval of course chair |
| Course Chair: | Dan Carlin |
| Required of: | None |
| Electable by: | FILM majors |
| Offered: | Fall, Spring |
| Description: | This class will compose and produce a complete score for a feature length film of the silent era. The final composed score will receive a full studio recording, and be performed live with the film in a performance at a local theater in the final weeks of the term. The students will each score, arrange, orchestrate and conduct the music for a "reel" (12-15 minutes) of the film, using thematic material provided by, and under the guidance of, the instructor. The recording of the final score will be dubbed to the film and will become an available, and archived, item for further distribution or broadcast, in a Berklee-based series of silent film scores (The Berklee Silent Film Score series). Admission to the class is highly limited, and interested students must submit examples of their work for consideration for acceptance into the class. |
Harmony 1 | |
| Course Number: | HR-111 |
| Credits: | 2 |
| Prerequisites: | None |
| Course Chair: | Joe Mulholland |
| Required of: | All |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Basic harmonic theory. Note identification, scale and mode construction, key signatures, interval recognition, chord construction, available tensions. Principles of diatonic chord progressions and analysis. |
Harmony 2 | |
| Course Number: | HR-112 |
| Credits: | 2 |
| Prerequisites: | HR-111 or PW-111 |
| Course Chair: | Joe Mulholland |
| Required of: | All |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Continued exploration of major key harmony: secondary and extended dominant relationships. Continued study of melodic construction and motif development. Principles of linear harmonic continuity and guide tone lines. Minor key harmony; introduction to subdominant minor. Blues theory and chord progressions. Melodic rhythm, form, and melody/harmony relationship. |
Harmony 3 | |
| Course Number: | HR-211 |
| Credits: | 2 |
| Prerequisites: | HR-112 |
| Course Chair: | Joe Mulholland |
| Required of: | All |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Continued analysis and application of major and minor key harmony; continued elaboration of subdominant minor and modal interchange; chord scale theory. Review of melodic construction and melody/harmony relationship; individual note analysis of melodies. Substitute dominant and related II-7 chords; diminished chord patterns; modulation. |
Harmony 4 | |
| Course Number: | HR-212 |
| Credits: | 2 |
| Prerequisites: | HR-211 |
| Course Chair: | Joe Mulholland |
| Required of: | All |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Continuation of principles of modern chord progression: deceptive resolutions of secondary dominants; dominant seventh chords without dominant function; contiguous dominant motion. Review of melodic construction, form, and melody/harmony relationship; modal interchange; pedal point and ostinato; modal harmony and modal composition; compound chords; constant structures. |
Harmonic Analysis of Rock Music | |
| Course Number: | HR-231 |
| Credits: | 2 |
| Prerequisites: | HR-211 |
| Course Chair: | Joe Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Identification and analysis of rock harmonies and melodies. Examples from the mid-1950s to the present day will be studied. Pentatonic and diatonic harmony, linear/open harmony, modulation, and classic rock chord patterns will be included. Emphasis will be placed on harmonic dictation. |
Harmony in Brazilian Song | |
| Course Number: | HR-241 |
| Credits: | 2 |
| Prerequisites: | HR-211 |
| Course Chair: | Joe Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | A study of how harmony interacts with melody, lyric, rhythm, style, and form in Brazilian popular song, accomplished through examining the works of the principal songwriters of three major styles of Brazilian popular music: samba, bossa nova, and MPB (musica popular Brasiliera). |
Blues: Analysis and Application | |
| Course Number: | HR-251 |
| Credits: | 2 |
| Prerequisites: | HR-211 |
| Course Chair: | Joe Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | A study of the evolution of the blues, combined with compositional application of various blues styles. Historical study focusing on the blues as a complete and complex form as well as the basic foundation for other styles. Analysis includes examination of harmonic movement, rhythmic and melodic construction, and lyric content. |
The Music of the Beatles | |
| Course Number: | HR-261 |
| Credits: | 2 |
| Prerequisites: | HR-212 |
| Course Chair: | Joe Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | Songs written and recorded by the Beatles, as well as songs written by the Beatles and recorded by other artists, will be analyzed for their harmonic content, melodic construction, modal focus, rhythmic phrasing, and lyrical construction. The course will be structured around the 10-year rule for composers and the three stages they move through in their career, from being engaged in others' music, to development of the current style, to innovation. In addition, an understanding of each member's personal history will be presented as a means of understanding the group's music. Also addressed will be the social environment from which the group emerged and developed and consideration given to its effect on their musical development and progress. |
Reharmonization Techniques | |
| Course Number: | HR-325 |
| Credits: | 2 |
| Prerequisites: | HR-212 |
| Course Chair: | Joe Mulholland |
| Required of: | JCMP majors |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Functional, extended, and bass line reharmonization. Incomplete chord structures and reharmonization of diminished chords. Application of the above techniques for writing turnarounds, introductions, interludes, modulations, and extended endings. Corrections of faulty lead sheets. |
Advanced Harmonic Concepts | |
| Course Number: | HR-335 |
| Credits: | 2 |
| Prerequisites: | HR-212 |
| Course Chair: | Joe Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Emphasis on newer harmonic concepts to enable students to write and analyze tunes in the style of Mike Gibbs, Chick Corea, and others. Discussion and use of nonfunctional harmonic techniques including multitonic systems, constant cycles, and patterned material. Analysis of representative tunes. |
Advanced Modal Harmony | |
| Course Number: | HR-345 |
| Credits: | 2 |
| Prerequisites: | HR-212 |
| Course Chair: | Joe Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Modal chord progression and melody using traditional, synthetic, and other modes. Analysis of modal jazz compositions. Modal voicings using characteristic tones and spacing considerations. Use of polytonal and polymodal relationships in original compositions. |
The Music of the Yellowjackets | |
| Course Number: | HR-355 |
| Credits: | 2 |
| Prerequisites: | HR-212 |
| Course Chair: | Joe Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | A study of the music of this popular jazz fusion ensemble. Students will analyze original manuscripts and transcribed scores to discover the variety of harmonic, melodic, and rhythmic concepts used that make the music unique, and will write tunes that demonstrate their understanding of these elements. Selected compositions will be performed by the Yellowjackets Ensemble, ENFF-325. |
World Music Materials and Concepts for the Contemporary Musician | |
| Course Number: | HR-361 |
| Credits: | 2 |
| Prerequisites: | HR-212 |
| Course Chair: | Joe Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | An introduction to the musical elements of several non-Western musical systems will provide alternative approaches to contemporary composition and improvisation. Topics explored will include melody, mode, improvisation, form, rhythmic organization, and preferences of timbre in the music of India, Africa, the Middle East, Latin America, and Japan. Contemporary world beat styles from these regions will be discussed in relation to underlying traditional genres. |
John, Paul, George, and Ringo: The Solo Years | |
| Course Number: | HR-P351 |
| Credits: | 2 |
| Prerequisites: | HR-212 |
| Course Chair: | Joe Mulholland |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring |
| Description: | This course will give a musical view of the solo careers of each member of the Beatles. As a group, their influence in the field of popular music is unparalleled. s separate artists, the unique musical qualities that helped to create the Beatles remains present in their solo work. The cross-pollination between all of them is obvious. This course will examine how each musician transitioned into and developed an individual musical path. It will help provide a deeper look at the Beatles' influence on these four musicians as well as uncover the stylistic similarities and differences between them. As the focus will be on harmonic and melodic content, students will be able to expand their musical vocabulary and understanding. Song form, arranging techniques, and lyric writing will also be addressed, giving a view of harmony and melody in a wider context. Examining each member's personal experiences and social environment will add depth and help students create a stronger connection between musical product and context. |
Brass Lab - Reading 1 | |
| Course Number: | ILBR-111 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Tom Plsek |
| Required of: | Brass principals |
| Electable by: | Brass principals |
| Offered: | Fall, Spring, Summer |
| Description: | The goal of ILBR-111, ILBR-112, and ILBR-211 is to prepare the entering brass student for the college ensemble program. Emphasis on reading studies in a variety of styles. |
Brass Lab - Reading 2 | |
| Course Number: | ILBR-112 |
| Credits: | 1 |
| Prerequisites: | ILBR-111 |
| Course Chair: | Tom Plsek |
| Required of: | Brass principals |
| Electable by: | Brass principals |
| Offered: | Fall, Spring, Summer |
| Description: | The goal of ILBR-111, ILBR-112, and ILBR-211 is to prepare the entering brass student for the college ensemble program. Emphasis on reading studies in a variety of styles. |
Brass Improvisation Lab 1 | |
| Course Number: | ILBR-121 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Tom Plsek |
| Required of: | Brass principals |
| Electable by: | Brass principals |
| Offered: | Fall, Spring, Summer |
| Description: | This course presents the basics of jazz improvisation on blues forms in easy keys. In addition to learning to improvise on these sets of changes, the student will also memorize a basic set of appropriate tunes. |
Brass Improvisation Lab 2 | |
| Course Number: | ILBR-122 |
| Credits: | 1 |
| Prerequisites: | ILBR-121 or written approval of instructor and course chair |
| Course Chair: | Tom Plsek |
| Required of: | Brass principals |
| Electable by: | Brass principals |
| Offered: | Fall, Spring, Summer |
| Description: | This course presents the basics of jazz improvisation on simple diatonic song forms in easy keys. In addition to learning to improvise on these sets of changes, the student will also memorize a basic set of appropriate tunes. |
Brass Lab - Reading 3 | |
| Course Number: | ILBR-211 |
| Credits: | 1 |
| Prerequisites: | ILBR-112 |
| Course Chair: | Tom Plsek |
| Required of: | Brass principals |
| Electable by: | Brass principals |
| Offered: | Fall, Spring, Summer |
| Description: | The goal of ILBR-111, ILBR-112, and ILBR-211 is to prepare the entering brass student for the college ensemble program. Emphasis on reading studies in a variety of styles. |
Advanced Brass Reading Lab | |
| Course Number: | ILBR-212 |
| Credits: | 1 |
| Prerequisites: | ILBR-211 or overall ensemble rating 4 |
| Course Chair: | Tom Plsek |
| Required of: | None |
| Electable by: | Brass principals |
| Offered: | Fall, Spring, Summer |
| Description: | Advanced Brass Reading Lab is designed for those brass students who have an overall ensemble rating of 4, and new students who demonstrate moderate-to-advanced reading skills. The material covered is a continuation of ILBR-111, ILBR-112, and ILBR-211, and focuses on developing the advanced reading skills required in contemporary music. |
Brass Improvisation Lab 3 | |
| Course Number: | ILBR-221 |
| Credits: | 1 |
| Prerequisites: | ILBR-122 or written approval of instructor and course chair |
| Course Chair: | Tom Plsek |
| Required of: | None |
| Electable by: | Brass principals |
| Offered: | Fall, Spring, Summer |
| Description: | This course continues the materials presented in ILBR-121 and ILBR-122, and applies them to improvising on blues forms and diatonic song forms in more advanced keys. In addition to learning to improvise on these sets of changes, the student will also memorize a basic set of appropriate tunes. |
Advanced Brass Improvisation Lab | |
| Course Number: | ILBR-222 |
| Credits: | 1 |
| Prerequisites: | Overall ensemble rating 4 |
| Course Chair: | Tom Plsek |
| Required of: | None |
| Electable by: | Brass principals |
| Offered: | Fall, Spring, Summer |
| Description: | Advanced Brass Improvisation Lab is designed for those brass students who have an overall ensemble rating of 4, and new students who demonstrate moderate-to-advanced improvisational skills. The material covered is a continuation of ILBR-111, ILBR-112, and ILBR-211, and focuses on developing the advanced improvisational abilities required in contemporary music. |
Exploring Technology for Brass Players | |
| Course Number: | ILBR-335 |
| Credits: | 1 |
| Prerequisites: | Written approval of instructor and course chair |
| Course Chair: | Tom Plsek |
| Required of: | None |
| Electable by: | Brass principals |
| Offered: | Fall, Spring |
| Description: | Students will be introduced to technology applications available for use by brass players in real-time performance situations. Emphasis will be on the use of technology as an extension of the instruments. |
Bass Lab - Reading 1 | |
| Course Number: | ILBS-111 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Rich Appleman |
| Required of: | Bass principals |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Instrumental lab for bass principals emphasizing the basic techniques and styles of bass playing in a variety of idioms. |
Bass Lab - Reading 2 | |
| Course Number: | ILBS-112 |
| Credits: | 1 |
| Prerequisites: | ILBS-111 |
| Course Chair: | Rich Appleman |
| Required of: | Bass principals |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Continuation of ILBS-111. |
Bass Fundamentals | |
| Course Number: | ILBS-115 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Rich Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Fall |
| Description: | General physical and mechanical aspects of playing the double bass and electric bass (four-, five-, and six-string) will be covered in depth, along with proper performance practices. Topics will include instrument construction, repair, and maintenance; proper body posture for effective bass playing; physical problems associated with performance; theoretical make-up of the fingerboard; and proper fingering concepts of both hands. This course is meant to be a basics manual for the bassist. Student participation via performance in class will be required. |
Bass Lab - Lines 1 | |
| Course Number: | ILBS-121 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Rich Appleman |
| Required of: | Bass principals |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | Instrumental lab for bass principals emphasizing the construction and performance of bass lines through chord changes in standard, popular, and jazz tunes. |
Rock Bass Lab | |
| Course Number: | ILBS-141 |
| Credits: | 1 |
| Prerequisites: | PIBS-111 |
| Course Chair: | Rich Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Fall, Spring |
| Description: | Study, through performance, of a wide variety of rock bass playing techniques from the '60s through the '90s. Students will perform transcriptions, read and sight read typical bass lines, and demonstrate general and specific aspects of a particular rock bass style. |
Elementary Double Bass Lab | |
| Course Number: | ILBS-181 |
| Credits: | 1 |
| Prerequisites: | None |
| Course Chair: | Rich Appleman |
| Required of: | None |
| Electable by: | Bass principals |
| Offered: | Fall, Spring, Summer |
| Description: | Intended primarily for electric bass players, this lab focuses on basic concepts of double bass playing: fingering, bowing, and sound production. Students are required to have access to a double bass and a bow for use in class and practice. |
Bass Lab - Reading 3 | |
| Course Number: | ILBS-211 |
| Credits: | 1 |
| Prerequisites: | ILBS-112 or written approval of instructor and course chair |
| Course Chair: | Rich Appleman |
| Required of: | None |
| Electable by: | All |
| Offered: | Fall, Spring, Summer |
| Description: | A continuation of ILBS-111 and ILBS-112. Material presented will advance the concepts taught in those labs. The focus will be on out-of-class preparation of written examples as well as in-class sight-reading at an advanced level. |
Bass Lines from Motown/Atlantic | |
| Course Number: | ILBS-215 |
| Credits: | 1 |
| Prerequisites: | ILBS-112 or overall ensemble rating 2 |
| Course Chair: | Rich Appleman |
| Required of: | None |
| Electable by: | Bass principals (electric bass recommended) |
| Offered: | Fall, Spring |
| Description: | This course will examine the bass styles of James Jamerson, Carol Kaye, Jerry Jemmott, Chuck Rainey, Willie Weeks, Tommy Cogbill, Bob Babbitt, and David Hood, the bassists for Motown and Atlantic records during the 1960s and 1970s. Students will learn to play the original ba |