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Music

Chair: Theodore Levin

Professors J. H. Appleton, M. P. O’Neal, S. Pinkas; Associate Professors K. Dong, T. C. Levin, L. Polansky, W. J. Summers; Assistant Professors E. Lyon, S. Swayne; Senior Lecturers T. E. Atherton, N. V. Boyer, D. W. Brubaker, L. G. Burkot, M. L. Cassidy, T. C. Haunton, G. M. Hayes, J. D. Muratore, D. R. Newsam, A. Ogle, J. E. Polk, A. Princiotti; Lecturers D. J. Baldini, N. D. Davis, J. Dunlop, E. C. Mellinger, D. R. Perkins, J. Vaverka, D. E. Weiser; Visiting Professor C. M. Dodge; Adjunct Associate Professor H. F. Shabazz; Adjunct Assistant Professor F. L. Haas; Research Instructor Y. Spitsyn.

Directors of Hopkins Center performing organizations: R. P. D. Duff, Conductor, Handel Society; T. Cunningham, Conductor, Dartmouth Chamber Singers; L. G. Burkot Jr., Conductor, Dartmouth College Glee Club; A. Princiotti, Conductor, Dartmouth Symphony Orchestra; D. M. Glasgo, Director of the Barbary Coast; H. F. Shabazz, Director, World Music Percussion Ensemble; M. C. Culpepper, Director, Dartmouth Wind Symphony and Dartmouth College Marching Band.

REQUIREMENTS FOR THE MAJOR

 Prerequisite: Music 5 and 10, or, with permission of the Chair, a course to be substituted for Music 10 that teaches oral tradition musicianship skills (i.e. Jazz Improvisation, Music of Southeast Asia). Prospective majors should complete Music 5 and 10 before the end of the sophomore year. It is also recommended that students begin fulfillment of the Performance and Musicianship Requirement (see below). Students who have had previous musical training and who anticipate entering the Department as majors are strongly encouraged to exempt themselves from Music 5 by passing a proficiency test prior to entrance, or the Department test which is administered at the beginning of each fall term. Such students should consult the Chair.

 Requirements:

1. Ten courses plus the Culminating Experience (Music 85), exclusive of those prerequisite, as follows:

a) Theory: Music 20, 21, and 22.

b) History and Literature courses: Music 33, 34, and 40.

c) Four courses, not to include Music 11-16, with the written approval of the major’s departmental adviser, which establish a focus for the student’s major. Note: Music 70-79 (if taken as a Culminating Experience) or Music 85 may not be used as one of the four courses establishing a focus for the major.

2. Performance and Musicianship Requirement:

a) Three terms of participation in any one, or a combination, of the following ensembles: Dartmouth College Chamber Singers, Handel Society, Dartmouth Symphony Orchestra, Barbary Coast, Dartmouth Gospel Choir, Dartmouth College Glee Club, Dartmouth Wind Symphony, World Music Percussion Ensemble.

b) One course (three terms) of instrumental or vocal instruction (Music 11-16). Majors and minors have priority for instruction and should make their status known at the audition.

c) One term of advanced instrumental or chamber music instruction (Music 70-79), or another three terms of an ensemble, or another three terms of instrumental or vocal instruction at the level of Music 11-16.

3. Culminating Experience

All majors must engage in a senior year culminating activity. This may consist of a recital, a thesis, or musical composition completed as Music 85, satisfactory completion of Music 78 (providing it was not used to satisfy performance requirement), or an honors project completed as Music 88.

The Department strongly suggests that students planning graduate work in music take Music 31 and 32, and enroll in the Honors Program. A reading knowledge of French and German prior to graduation is recommended.

MODIFIED MAJOR

Prerequisite: Music 5 and 6.

Required courses: Six music courses, exclusive of those prerequisite: Theory: Music 20, plus one of the following: Music 19, 21, or 22. History and Literature: Music 33, 34, and one of the following: Music 40 or 41, plus one additional music course above 16. Four courses from another department.

Performance and Musicianship: Same as major (2 above).

MUSIC MINOR

Required courses: Music 5, 6, 10 and 20, or, with permission of the Chair, a course to be substituted for Music 10 that teaches oral tradition musicianship skills (i.e. Jazz Improvisation, Music of Southeast Asia). One of the following: Music 4, 40, or 41. And one of: Music 31-38.

An alternate focus within the minor may be proposed through petition to the faculty.

Performance and Musicianship Requirement:

Either one course from Music 70-79 or three terms of participation in any one, or a combination, of the performing ensembles listed in (a) under the Major, or one course (three terms) of individual instruction in voice or instrument (Music 11-16).

HONORS PROGRAM

In the Department of Music, the Honors thesis requirement (Music 88) may be fulfilled by any of the following:

A. written Honors thesis.

B. recital and a supporting paper.

C. musical composition and a supporting paper.

A paper submitted in support of a performance or a composition should be regarded as the equivalent of a term paper, with an analytical, historical, or interpretive focus related to the performance or composition. A written Honors thesis should demonstrate analytical and research skills substantially beyond this standard. The student is responsible for obtaining the Department’s honors guidelines and meeting all criteria and deadlines.

To qualify for Honors, the student must have at least a 3.3 grade average in Music, in addition to the college G.P.A. requirement.

FOREIGN STUDY PROGRAM

Offered every year, the Music Foreign Study Program provides a unique opportunity for students to integrate the study of music with its performance while living in London. Open to all musicians, this program is ideal for students interested in various dimensions of music. Enrollment is limited to 16 students. Selection is based on a demonstrated interest in music by virtue of past study and demonstrated ability to perform.

Prerequisites: Music 5, with Music 20 recommended, plus a music history course. In addition, there will be a requirement of two terms of a Hopkins Center- sponsored ensemble listed under (a) in the Major, or one contract of individual instruction in Music 11-16.

REQUIREMENTS FOR THE MASTER OF ARTS DEGREE (M.A.) IN ELECTRO-ACOUSTIC MUSIC

Electro-acoustic music requires knowledge and skills in music, computer science, engineering, or physics, and an expertise in one or more of these areas. Candidates for admission to the Master of Arts program must therefore meet the requirements in at least one of the following areas:

 Music: A bachelor’s degree in music (or equivalent experience) and demonstrated accomplishment in musical composition; or

 Computer Science: A bachelor’s degree in computer science (or equivalent experience) including knowledge of differential equations and infinite series (Mathematics 23), Fourier analysis and related applications to problems in science and engineering (Mathematics 33), and probability and statistical inference (Mathematics 50); or

 Engineering Sciences or Physics: A bachelor’s degree in engineering sciences or physics (or equivalent experience) including a knowledge of digital electronics and microprocessors (Engineering Sciences 27), techniques of modeling and analyzing systems (Engineering Sciences 22), and electrical network theory (Engineering Sciences 54).

Regardless of a student’s area of specialization within the program, the requirements for completion of the Master of Arts Degree in Electro-Acoustic Music include:

1. A minimum of seven terms in residence after the bachelor’s degree.

2. The ability to play a musical instrument at the level comparable to that attained at the completion of one course from Music 11-15; an understanding of music theory that includes four-part harmony, modulation and form and analysis; and a knowledge of the musical styles covered in Music 1 (American Music), Music 4 (Music of Non-Western Peoples), Music 6, (History of Western Art Music), and Music 34 (Twentieth Century Music).

3. Seven Core Courses: Music 101, 102, 103, 104 (twice), 105, Music Cognition.

4. Four electives to be determined in consultation with student and program faculty. These electives will depend on the student’s background, the area of specialization within the program or the need to remedy deficiencies in mathematics, computer science, engineering or music.

5. Directed research (thesis courses). Two thesis courses (Music 137), one in preparation and one in writing of the thesis. These are typically done in the Winter and Spring of the second year.

6. A thesis approved by the student’s graduate committee and the faculty of the Department of Music demonstrating a mastery of the materials in the student’s area of concentration within the program.

INTRODUCTORY COURSES

1. American Music

05S, 06S: 2A

A survey of some of the major influences, societal shifts, great works, important styles, and prominent musicians in American music. Lectures, listening assignments, and live performances focus on the amalgam of social and artistic influences that have shaped music in the United States and on the diverse musical languages that constitute it. At the discretion of the instructor, the class will cover some or all of the following topics: popular music from the eighteenth century to the present (melodrama, Stephen Foster, Tin Pan Alley, bluegrass, country, rock ‘n’ roll, folk, punk, alternative, grunge, electronic); the concert music tradition, both populist and avant-garde (Billings, Ives, Copland, Crawford Seeger, Cage, Wolff, Reich); the influence of black music (minstrelsy, blues, ragtime, jazz, R&B, Motown, hip- hop); sacred music (shape note singing, Shaker music, gospel, Native American ritual and ceremonial music); the contributions of ethnic and regional subcultures (the Spanish influence in the early West, Appalachia, et al.). No prerequisite. A course fee may be charged for special events associated with the course. Dist: ART. Class of 2007 and earlier: WCult: NA. Class of 2008 and later: WCult: W. The staff.

2. Beginning Music Theory

04F: 10 05W, 05S: 2 05X: 10 05F: 2

A course intended for students with little or no knowledge of music theory. Among topics covered are musical notation, intervals, scales, rhythm and meter, and general musical terminology. Concepts will be directly related to music literature in class and through assignments. Students will have the opportunity to compose simple pieces and work on ear training. No prerequisite. Dist: ART. The staff.

3. Music and Technology

04F, 05F: 2

The impact of technology on composers, performers and listeners has had a profound effect on world musical culture. To understand fully the changes that have taken place, the following topics will be covered: Elementary acoustics, sound synthesis, recording media, music distribution, new musical instruments and software. The aesthetic and social implications of these topics will be the main concern of the course. There will be extensive listening assignments required, together will a final project. Dist: TAS.

4. Music of Non-Western Peoples

05S, 06S: 10A

A survey of music and music-making whose origins are in the non-European world. Examples include Indian raga, Middle Eastern maqam, West African drumming, Javanese gamelan, and Native American ceremonial music. A central issue in the course is the present-day intermingling of non-Western and Western musical styles and performance practices. Course work will include weekly listening and reading assignments. Where possible, visiting musicians will be invited to demonstrate and discuss the musics under consideration. A course fee may be charged for special events associated with this course. No prerequisite. Dist: ART; WCult: NW. Levin, the staff.

5. Harmony and Theory I

04F, 05F, 06W: 10

This course begins a series in harmony and theory and is intended for those who may consider a music major or minor. Topics will include music notation, interval identification, common-practice scales and modes, harmonic function, melodic construction, and formal analysis. In addition, students will have an opportunity to improve skills in rhythmic, melodic and harmonic dictation, sight singing, and score reading. Prerequisite: the ability to read music in two or more clefs or permission of the instructor. Dist: ART. Swayne.

6. History of Western Art Music

05W: 2A 05X: 10A 06W: 2A

An introduction to Western art music. After a brief introduction to the rudiments of musical notation and theory and to the instruments of the traditional orchestra, the course proceeds to an examination of selected masterworks, with an emphasis on music of the past three hundred years. No prerequisite: no previous knowledge of music is assumed. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Summers.

7. First-Year Seminar

Consult special listings

8. Music and the Voice

Not offered in the period from 04F through 06S

An exploration of the vast world of music composed for the voice through a survey of diverse musical styles, historical periods and cultural traditions. Topics may include folk and gospel music, jazz, opera, oratorio, musical theater, madrigals, a cappella and accompanied partsongs, Gregorian chant, and the art of solo song. In each style and genre, students will examine approaches to setting text and the use of various vocal techniques. Course work will be conducted through a combination of readings, listening and video- viewing assignments, and live performance by visiting artists and volunteer class members. Musical experience is not a prerequisite. Dist: ART.

9. History of Jazz (Identical to AAAS 39)

04F, 05F: 10A

This class will examine jazz from its origins to the present. Special attention will be given to pivotal figures in the history of jazz such as Louis Armstrong, Duke Ellington, Count Basie, Charlie Parker, Miles Davis, John Coltrane, and Ornette Coleman. Class time will be spent listening to, analyzing, and discussing a wide variety of recorded jazz performances and watching jazz films. A number of visiting artists will perform in class and lecture on relevant topics. Outside of class students will attend live jazz performances, listen to recordings and read about the artists that brought this music to life. The goal is to help increase understanding, appreciation and enjoyment of this great American art form called Jazz.

After an introductory period during which the focus will be on the basic elements of music and how to listen to jazz, representative instrumental and vocal recordings from the past one hundred years will be considered. Dist: ART. Class of 2007 and earlier: WCult: NA. Class of 2008 and later: WCult: W.

10. Oral Tradition Musicianship

05W, 05S, 05F, 06W, 06S: 2A

Students in this course will examine the processes used by master musicians in communicating sound through the oral tradition. In the course, the musicians will talk about different techniques, conditions, environment, and cultures through which the oral tradition is transmitted. Students will be involved, through the practice of an oral tradition music, so that a natural transition can be developed in the processes of communicating sound orally. Readings will offer the opportunity to examine a variety of oral traditions. A course fee is required for rental of drums.

No prerequisite. Open to all classes. Dist: ART: WCult: NW. Shabazz.

INDIVIDUAL INSTRUMENTAL INSTRUCTION

Selection of students will be by audition. Should more students audition for a given course than the instructor is scheduled to teach, preference will be given to music majors, modified majors, and minors, and to members of performing organizations of Dartmouth College.

One course credit is offered for the combined three terms of instruction and will be granted only after successful completion of all three terms of study. The course is included as part of a student’s official course load only in the first term; a grade is given upon completion of the final term. A student who does not complete the course will receive a non- credit grade. All courses in this sequence (Music 11-16) are offered only on a graded basis; under College regulations the policy must be announced prior to each initial term. A student may repeat the course, if satisfactory progress has been made, within the conditions stated following this description. Dist: ART.

Students not accepted into a course in instrumental or vocal instruction may make private arrangements for study with teachers on the staff of Dartmouth College, at the discretion of the instructor, or they may study off-campus with teachers in the area. No academic credit will be given for off-campus study and the fee is the responsibility of the student.

 No more than four course credits from the following courses may be counted by any student toward the Dartmouth degree: Music 11, 12, 13, 14, 15, 16.

11. Keyboard Individual Instruction: Classical and Jazz Piano.

Harpsichord and organ also taught by petition.

12. Woodwind Individual Instruction: Flute, Oboe, Clarinet, Bassoon, Saxophone

13. Brass Individual Instruction: Trumpet, French Horn, Trombone, Tuba

14. String Individual Instruction: Violin, Viola, ’Cello, Bass Viol, Electric Bass, Classical and Electric Guitar

15. Voice Individual Instruction

16. Percussion Individual Instruction

For Music 11-16, see Department for arrangements, also description of Individual Instruction.

THEORY AND COMPOSITION

19. Composition

05W, 05F, 06W, 06S: 10A

This course is for those intending to pursue serious compositional studies of any genre, style, or type at either the basic, intermediate, or advanced levels. Students will engage in extended creative projects designed in conjunction with the instructor during which they will receive intensive private instruction and participate in composition seminars. Projects may be undertaken involving any of the following contexts: acoustic, avant-garde, culturally-grounded, experimental, folk, inter- or multi-media, jazz, popular, rock, technology, and traditional, or any other creative interest of the students enrolled. The term’s work will include the listening and analysis of literature pertinent to the current session, and the writing of essays involving the aesthetic, creative, and technical issues at hand. It will culminate in a public concert of the compositions written in the seminar. In addition to the prerequisite, Music 1 is recommended. Music 19 may be repeated once for credit.

Prerequisite: Permission of the instructor. Dist: ART. Dodge, Dong, Lyon.

20. Harmony and Theory II

05W, 05S: 10A 06W: 2

This course is a study of the theory and practice of Western tonal harmony. The course begins with the analysis and composition of four-part chorales in the style of J.S. Bach and continues with the principles of advanced modulation, modal mixture, advanced chromaticism, altered chords, some nonfunctional tonality, and basic principles of structure, particularly in binary and ternary form. Assignments will include listening, analysis of passages from the literature, and composition to models. While the course focuses on the theory and practice of the Baroque, Classical, and Romantic eras, attention will also be given to tonal harmonic practices of the twentieth century, in jazz, popular song, concert music, etc. There is a weekly laboratory in sight-singing, dictation, and keyboard skills coordinated with the theoretical studies.

Prerequisite: Music 5 or permission of the instructor. The course is designed as a continuation of Music 5. Laboratory to be arranged. Dist: ART. Dong, Dodge, Lyon.

21. Counterpoint

05W: 10 06S: 2

This course is a thorough study of the traditional theory and practice of combining two or more melodies in a conventional tonal or modal framework. The course begins with sixteenth-century modal counterpoint in the styles of Palestrina, Lassus, and their contemporaries. The course then proceeds to a study of Baroque tonal counterpoint, particularly as practiced by J.S. Bach, and the extension of the tradition into Classical, Romantic, and twentieth-century eras. The student will also analyze the essential Baroque forms of two- and three-part invention, canon, passacaglia, choral prelude, fughetta, and especially fugue. The final project will be the composition of a fugue. Assignments will include composition to models, analysis of works from the literature, and listening. Laboratory: sight-singing in treble and bass clefs, singing single lines and in parts; melodic, harmonic, and rhythmic dictation; score-reading of simple keyboard works; chord progressions, modulations, and counterpoint exercises and the keyboard.

Prerequisite: Music 5 or the permission of the instructor. Laboratory to be arranged. Dist: ART. Appleton, Lyon.

22. Form, Analysis, and Orchestration

05W, 05F: 2A

This course begins with a study of the important tonal forms of Western music, particularly the sonata forms as found in the piano sonata, string quartet, symphony, and concerto forms. The student will combine harmonic and contrapuntal knowledge with the principles of long-range prolongation and will study various approaches to the analysis of larger musical structures. The course will also include the study of orchestration, particularly as it developed in the Baroque, Classical, Romantic, and twentieth-century eras. Assignment will include listening, analysis of works from the literature, and composition to models. The final project will be a string quartet movement in sonata form. Laboratory: sight-singing in treble, bass, alto, and tenor clefs; singing single lines and in parts; melodic dictation in four clefs; harmonic dictation; harmonic progressions and score-reading at the keyboard.

Prerequisite: Music 21 or the permission of the instructor. Laboratory to be arranged. Dist: ART. Dong.

24. Introduction to the Composition of Electro-Acoustic Music

04F, 05S, 05F, 06S: 2

The course is intended for students demonstrating a serious interest in creative work. The study of relevant acoustics, equipment design and function, and the analysis of examples of electronic music are covered in weekly class meetings. In addition, students are given weekly individual instruction and are provided with regular hours for work in the studio.

Prerequisite: Music 2 (if 2 is taken prior to fall 2005), or 5, and permission of the instructor. Dist: TAS. Appleton.

FOREIGN STUDY COURSES

29. Perspectives in Music Performance

05S, 06S: D.F.S.P.

This course will incorporate the study of music with its performance. Students will attend selected concerts, undertake careful examination of works selected from the repertoire, and keep a journal of concert observations. The performance practices of the historical style periods will be reviewed along with historical context: circumstances of composition, place of the work within the composer’s total output, development of the forms within which the composer was working, significance of the works in terms of stylistic developments. Dist: ART. Dong, Polansky.

30. The History of Music in England

05S, 06S: D.F.S.P.

A close examination will be made of the circumstances in which music was composed and performed in England from the earliest evidences to the present. Influences from the Continent will be highlighted, particularly those of the Italian madrigal and opera. The effects of ruling monarchs, changing religious affiliations, and the rise of music societies will be studied. A view of the composer and his or her music and style, and the role of all three in England will be made, with special attention given to Dunstable, Tallis, Dowland, Byrd, Purcell, Handel, Elgar, Walton, Britten, and Tippett. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Dong, Polansky.

MUSIC HISTORY COURSES

31. Music of the Middle Ages and Renaissance

Not offered in the period from 04F through 06S

A study of the development of musical techniques and styles from plainsong through the Renaissance. Emphasis will be placed on the development of polyphony, the growing control of musical materials and expansion of forms in the works of Machaut and Landini, Dufay, Dunstable, Ockeghem and Busnois, Josquin and Isaac, Gombert, and others. The place of dance in Renaissance society will be considered. Special emphasis will be placed on the Italian madrigal tradition and its role in the employment of the expressive gestures that lead to the Baroque style.

Prerequisite: Music 2 (if 2 is taken prior to fall 2005), or 5, or permission of the instructor. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Summers.

32. Seventeenth and Eighteenth Century Western Art Music

05S, 06S: 10A

This course will survey the development of musical style from the first operatic production of the Florentine Camerata through the major compositions of Monteverdi and Schutz, Lully and Rameau, Torelli and Corelli, Purcell, Vivaldi and Scarlatti, and Bach and Handel. Emphasis will be placed on the development of large-scale instrumental and musico-dramatic forms during this period, and the rise of new harmonic and structural concepts.

Prerequisite: Music 2 (if 2 is taken prior to fall 2005), or 5, or permission of the instructor. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Summers.

33. Eighteenth and Nineteenth Century Western Art Music

05W: 3A 06W: 2A

The new formal and harmonic practices of the mid-eighteenth century and their utilization in the sonatas, symphonies, operas, songs, and chamber music of the several Pre-Classical schools, and of Haydn and Mozart, will be discussed and analyzed. Beethoven’s expansion of formal and expressive materials will be examined, as will his impact on such successors as Schubert, Schumann, Brahms, and Strauss. The Italian operas of Rossini, Bellini, and Verdi will be compared to the musical-dramatic works of von Weber and Wagner. The course will conclude with a discussion and analysis of harmonic innovations in the music of Wagner, Mahler, and Debussy and their implications for traditional formal structures.

Prerequisite: Music 2 (if 2 is taken prior to fall 2005), or 5, or permission of the instructor. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Swayne, Summers.

34. Twentieth Century Music

04F, 05F: 10

The music composed during the last hundred years is filled with exciting new sounds, new ideas and is comprised of many different multicultural genres. A close examination of the innovations of these artistic explorations by individual composers, this course intends to give the students a sense of who was doing what, when, where and why in the world of 20th-century art music.

Through listening, analysis, reading assignments and class discussion, the course focuses on aspects of the music such as the structure, pitch organization, rhythm and sound texture. Selected works of Bartok, Berio, Cage, Crumb, Debussy, Glass, Ives, Ligeti, Lutoslawski, Ravel, Riley, Schoenberg, Shostakovitch, Stockhausen, Stravinsky, Takemitsu, TanDun, Varese, Webern and others will be carefully studied.

Prerequisite: Music 2 (if 2 is taken prior to fall 2005), or 5, or permission of the instructor. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Dodge, Lyon.

35. Beethoven in Context

06W: 2

This course examines the life and music of Ludwig van Beethoven. In the hands of his contemporary critics, historians, and visual artists, Beethoven was elevated to the status of a genius, a perception that persists today. Nineteenth-century representations of Beethoven as this towering persona will be compared with modern biographies, recordings, and videotape productions in order to construct an accurate picture of Beethoven, the creative artist and the man. Works will be listened to and discussed that illustrate the developments in his compositional style. Performer/faculty will present in-class recitals of Beethoven’s music, and attendance at selected Hopkins Center concerts featuring Beethoven’s music will be required. No prerequisite. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Summers.

36. Special Topics: Composers

05S, 06S: 2A

In 05S, Mozart. No prerequisite. Dist: ART; WCult: Varies. Summers.

37. Opera

05F: 3A

The term ‘opera’ encompasses a vast range of music-dramatic forms and involves the extra-musical domains of literature, mythology, the visual arts, religion, philosophy, and social commentary. From its origins in late Renaissance Italy to the present, opera has been a most complex and compelling performing art, as well as a mirror of Western culture. This course will survey the development of opera, focusing on representative works by such composers as Monteverdi, Handel, Purcell, Mozart, Verdi, Wagner, Bizet, R. Strauss, Berg, and Britten. Special attention will be given to the music as it relates to libretto and dramatic structure. No prerequisite. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Swayne.

38. American Musical Theatre

05W: 2A

The course will examine the various forms of twentieth-century American music theater, including musical comedy, operetta, revue, and opera. Representative musical theater works by such composers as Cohan, Kern, Blake, Gershwin, Porter, Rodgers, Loesser, Loewe, Bernstein, Sondheim, Glass, and Adams will be viewed and studied. Special emphasis will be placed on studying the music as it relates to libretto and dramatic structure, the cultural and historical context of each work, and to the artistic and polemical intentions of the creators. No prerequisite. Dist: ART. Class of 2007 and earlier: WCult: NA. Class of 2008 and later: WCult: W. Swayne.

40. Ethnomusicology

05S, 06W: 2A

The focus of ethnomusicology is the study of music—particularly that outside the Western art music tradition—in its social and cultural context. This course serves as an introduction to the field. Drawing on examples from a variety of musical traditions, course work will survey some of the concepts, problems, and issues that figure prominently in current ethno-musicological research. Topics include musical orality and literacy, the modernization of musical traditions, gender and music-making, and the search for musical universals. In addition to weekly reading and listening assignments, students will undertake a documentary music fieldwork project in the local area. A course fee may be required for special events associated with this course.

Prerequisite: Music 2 (if 2 is taken prior to fall 2005), or 5 or equivalent. Dist: ART. Levin, the staff.

41. Music, Ceremony, Ritual, and Sacred Chant

05W: 2A

A cross-cultural, comparative survey of the ceremonial and ritual contexts and functions of selected musical repertories, genres, and styles. The musics surveyed will be drawn from living cultural traditions and may vary from year to year. A central concern of the course is the notion of musical universals: what is similar and what is different about the use of music in various ritual and ceremonial contexts? Course work will include weekly listening and reading assignments, and close analysis of sound recordings and films. A course fee may be required for special events associated with this course. No prerequisite. Dist: ART; WCult: NW. Levin.

PERFORMANCE COURSES

70. Conducting

05X: 2

The conductor has ultimate responsibility for an ensemble’s performance. This course is designed to provide a philosophical basis and practical introduction to the art and discipline of conducting music. Preparation of the score (study of transposing instruments and clefs, melodic, harmonic and form analysis), knowledge of historical styles and performance practices, baton technique and rehearsal procedures will be studied and applied. Conducting instrumental and vocal music will be incorporated into daily class assignments as well as midterm and final project performances.

Prerequisite: Music 20, or permission of the instructor. Dist: ART. O’Neal.

 No more than four course credits from the following courses may be counted by any student toward the Dartmouth degree: Music 71, 72, 73, 74, 75, 76, 77.

71. Studies in Musical Performance: Keyboard

All terms except summer: Arrange

This course consists of the intensive private study of a small number of selected works through their performance. Beyond technical mastery of the instrument, emphasis is placed upon the relation between performance problems (dynamics, phrasing, rubato) and multi- level analysis (harmonic, structural, stylistic). In addition to private instruction for one ninety-minute period each week, the student will be required to present a one-hour recital and to provide either written or oral program notes.

Prerequisite: Music 11 and permission of the instructor. Dist: ART.

72. Studies in Musical Performance: Woodwinds

All terms except summer: Arrange

(see details under Music 71)

Prerequisite: Music 12 and permission of the instructor. Dist: ART.

73. Studies in Musical Performance: Brass

All terms except summer: Arrange

(see details under Music 71)

Prerequisite: Music 13 and permission of the instructor. Dist: ART.

74. Studies in Musical Performance: Strings

All terms except summer: Arrange

(see details under Music 71)

Prerequisite: Music 14 and permission of the instructor. Dist: ART.

75. Studies in Musical Performance: Voice

All terms except summer: Arrange

(see details under Music 71)

Prerequisite: Music 15 and permission of the instructor. Dist: ART.

76. Studies in Musical Performance: Percussion

All terms except summer: Arrange

(see details under Music 71)

Prerequisite: Music 16 and permission of the instructor. Dist: ART.

77. Studies in Musical Performance: Chamber Music

All terms except summer: Arrange

An intense term of study devoted to major works from the Chamber Music repertoire, culminating in a one-hour public performance. Open to duos, trios, quartets and quintets involving all instruments and voices.

Prerequisite: completion of one Instrumental or Vocal Instruction contract, or one year participation in an Ensemble by each member of the group; approval of Chair/Instructor upon submission of a proposed program. Dist: ART.

79. The Total Musician: Music History and Analysis in Performance

Not offered in the period from 04F through 06S

The aim of this course is to integrate elements of the music curriculum often treated separately: theory, history, and performance. The course will explore ways in which the study of music history and theory can enrich music-making itself. Class meetings will center around selected works analyzed and performed by students, the instructor, and visiting artists. Repertories and works to be considered will vary from one year to the next. This course may serve to fulfill the senior culminating requirement with prior consultation with the professor.

Prerequisite: Music 6, 20, 21, or permission of the instructor. Dist: ART. Pinkas.

INDEPENDENT RESEARCH COURSES

82-86. Seminar and Research Courses

These courses may be offered in any term and the content varied from year to year according to the interests and talents of the students and the availability of teaching staff. Although intended primarily for students in the Music major, qualified students from other departments may be admitted. In every case admission to these seminars requires permission of the instructor. The seminars consist of reading and research, of writing on an appropriate topic, or of analysis, composition, or advanced theoretical studies under the supervision of a member of the Department. Dist: ART.

82. Special Study in History, Musicology, Ethnomusicology. Permission of the instructor.

83. Special Study in Composition and Theory. Permission of the instructor.

84. Special Study in Performance. Permission of the instructor.

85. Culminating Experience

05S: Arrange

06S: ArrangeMusic of Today (pending approval). Dong.

86. Other Special Studies. Permission of the instructor.

87. Special Studies in Music Abroad (Individual Instruction on Music FSP)

05S, 06S: D.F.S.P. Dist: ART.

88. Honors

All terms: Arrange

PERFORMING ORGANIZATIONS

Extensive performance opportunities are provided by Hopkins Center-sponsored ensembles: Wind Symphony, Marching Band, Glee Club, Chamber Singers, Handel Society, Dartmouth Symphony Orchestra, Barbary Coast, World Music Percussion Ensemble, and Dartmouth Gospel Choir. Additional chamber music performance opportunities are available on an ad hoc basis.

GRADUATE COURSES

See the requirements for the Master’s degree in Electro-Acoustic Music on page XXX.

101 A. Music Cognition

Not offered in the period from 04F through 05S

Roger Shepard has written that “There is a long chain of processes between the physical events going on in the world and the perceptual registration of those events by a human observer. The processes include the generation of energy by some external object or event, the transmission of the energy through the space between the event and the observer, the reception and processing of the energy by the observer’s sensory receptors, and the transmission of signals to the brain, where still more processing takes place.”

101 B. The Influence of Technology on the Roles of Musicians and Musical Institutions in the 20th Century

04F, 05F: Arrange

The relationship of composers and performers to their cultural past and to their present opportunities to be heard have shaped the style and content of musical expression in the Western world during the past three hundred years. Radio and recordings have altered the relationship among mass, folk, and art cultures. This seminar is concerned with these issues and with new technological developments that will have an equally powerful effect on musical culture. Appleton.

103. Analysis, Synthesis, and Perception of Timbre

05X: Arrange

Digital music systems offer a dynamic control over timbre that is unprecedented in music history. This seminar explores a number of theoretical approaches to the multiple variables that compose musical timbre. The course begins with a brief review of basic musical acoustics and psychoacoustics. Approaches to the electro-acoustic simulation of instrumental and vocal timbres are discussed and demonstrated. These studies serve to introduce principles that can be freely applied to the synthesis of any imaginable timbre. Coursework will include a number of musical exercises and studies that focus upon aspects of timbre and timbre theory.

104. Composition of Computer Music

05S, 06W, 06S: Arrange

A seminar in techniques of composition for electro-acoustic instruments. Some insights into the structure of music can only be gained by the activity of composition itself. Those individuals with a primarily scientific background are most in need of this experience if they are to make significant contributions to the tools musician use. Compositional exercises are designed to explore widely divergent contemporary musical materials, textures, and forms. May be repeated for credit. Lyon, Appleton.

105. Analysis of Musical Systems

05W: Arrange

This course is an overview of current and speculative music theories. Some of the topics covered include meta-theoretical descriptions of musical language (Brun, Gaburo, Eagleton, Rahn, et al.), algorithmic compositional and analysis techniques (Ames, Tenney, Koenig, Xenakis, Barlow, et al.), applications of artificial intelligence and cognitive sciences in music (Chaltin, Rosenboom), theories of form (Polansky, Tenney, Lerdahl and Jackendoff, Morris, et al.), harmony and experimental intonation (Tenney, Johnston, Partch, Chalmers, Barlow, et al.), and atonal set theory (Morris, Lewin, Rahn). Students will be required to do a final project, consisting of a theoretical paper on a student-selected topic combined with an ‘implementation’ (which might consist of software, a composition, an experiment, etc.) of the theoretical topic written about. Polansky.

137. Directed Research. 05W: Polansky.

Equivalent to one course.

138. Directed Research. The staff.

Equivalent to two courses.

139. Directed Research. The staff.

Equivalent to three courses.