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Information on this website is posted for historical reference only. Please visit the Office of the Registrar for current requirements.


Chair: Theodore Levin

Professors J. H. Appleton, T. C. Levin, M. P. O’Neal, S. Pinkas; Associate Professors K. Dong, L. Polansky, W. J. Summers, S. Swayne; Assistant Professor E. Lyon; Senior Lecturers T. E. Atherton, N. V. Boyer, L. G. Burkot, M. L. Cassidy, T. C. Haunton, G. M. Hayes, E. C. Mellinger, J. D. Muratore, D. R. Newsam, A. Ogle, J. E. Polk, A. Princiotti; Lecturers D. J. Baldini, E. Carroll, N. D. Davis, J. Dunlop, 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.


Prerequisite: Music 5 and 10. Students enrolled in Music 11 are automatically exempt from Music 10. Prospective majors should complete Music 5 before the end of the sophomore year. It is also recommended that students begin fulfillment of the Performance and Musicianship Requirement as early as possible (see below). Students who have had previous musical training and who anticipate majoring in music are strongly encouraged to exempt themselves from Music 5 and Music 10 by passing the appropriate Department test administered at the beginning of each term. Information on the testing schedule is available from the Music Department office.


1. Eleven courses, exclusive of those prerequisite, as follows:

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

b) History and Literature courses: Music 31, 32, 33, and 40.

c) Culminating Experience seminar: Music 85.

d) Three 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 85 may not be used as one of the three courses establishing a focus for the major.

2. Performance and Musicianship Requirement:

a) Three terms of participation in a Performance Laboratory, including one term of the laboratory in Oral Tradition Musicianship (Music 50, Section 4) or term of the laboratory in Indonesian Gamelan (Music 50, Section 5).

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 instruction in instrumental or vocal music, or in conducting (Music 70-76), or another three terms of Performance Laboratory (Music 50), or another three terms of instrumental or vocal instruction at the level of Music 11-16.

3. Culminating Experience

Participation in the senior seminar Music 85, “The Music of Today.�?


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 32, 33, and either Music 40 or 41, plus one additional music course not to include Music 10-16. Four courses from another department.

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


Required courses: Music 5, 6, and 20. One of the following: Music 4, 40, 41. And two of: Music 8, 31-38.

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

Performance and Musicianship Requirement: Participation in three terms of Performance Laboratory for credit, including at least one term in the laboratory in Oral Tradition Musicianship, and three terms of individual instruction in voice or instrument (Music 11-16), or Music 70-76.


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

1) An Honors Thesis.

2) A recital and supporting paper.

3) A musical composition and 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. An 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.


Offered every year, the Music Foreign Study Program provides a unique opportunity for students to combine the study of music with an intensive exposure to musical performance. The program is open to vocalists, instrumentalists, and composers, as well as to students whose focus is on music history, theory, or ethnomusicology. Enrollment is limited to 16 students. Selection will be based on a student’s interest in music as demonstrated by past study and performance ability.

Prerequisites: Music 5, with Music 20 recommended, plus one music history course. Also, two terms of a Music Department Performance Laboratory (Music 50), or one contract of individual instruction (Music 11-16).



Electro-acoustic music requires knowledge and skills in music, computer science, engineering, and physics, and an expertise in one or more of these areas. Candidates for admission to the Master of Arts program must 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 a 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 33 (Western Art Music from Early Romanticism to the Late Twentieth Century).

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

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, and 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 taken 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.


1. American Music

06S, 07S: 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. Swayne.

2. Beginning Music Theory

05F, 06X, 06F, 07X: 10

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. O’Neal, Haas.

3. Music and Technology

05F, 06F: 2

This course concerns the impact of technology and its aesthetic and social implications on composers, performers, and listeners. Course work focuses on elementary acoustics, sound synthesis, recording media, music distribution, new musical instruments, and music software. Assignments include extensive listening and a final project. Dist: TAS.

4. Music of Non-Western Peoples

06S, 07W: 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. No prerequisite. Dist: ART; WCult: NW. Levin, the staff.

5. Harmony and Theory I

05F, 06W, 06F, 07W: 10

This course begins a sequence in harmony and theory and is intended for those who may consider a music major or minor. Topics 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

06W, 07W: 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 05F through 07S

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)

05F, 06F: 10A

This course examines jazz from its origins to the present, with special attention 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 work includes listening to, analyzing, and discussing a wide variety of recorded jazz performances, and watching jazz films. Class sessions include performances by visiting artists. Outside of class, students will attend live jazz performances, listen to recordings, and read about the artists who brought this music to life. The goal is to help increase understanding, appreciation and enjoyment of the great American art form called Jazz. Dist: ART. Class of 2007 and earlier: WCult: NA. Class of 2008 and later: WCult: W.

10. Basic Keyboard Skills

05F, 06W, 06S, 06F, 07W, 07S: Arrange

This class aims to provide basic skills for those with some or no previous training in piano. Two sections are offered: Basic Keyboard (10a), for those with no piano experience, covers the basics of note reading, hand coordination, scales, chords, and beginning piano music. Intermediate Keyboard (10b) is for those with some previous training in piano, and covers scales, chords, pedaling, phrasing, and beginner-intermediate piano music. The class, which uses advanced keyboard and computer technology, consists of three terms of study (eight sessions each), with one course credit offered for the combined three terms. Each section is limited to four students; priority will be given to music majors seeking to fulfill their proficiency requirement.

No prerequisite. Open to all classes. Dist: ART. Weiser.


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.


19. Composition

05F, 06W, 06S, 06F, 07W, 07S: 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 analyzing literature pertinent to the current session, and writing 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. Dong, Lyon.

20. Harmony and Theory II

06W, 07W: 2

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. A weekly laboratory in sight-singing, dictation, and keyboard skills is 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

06S, 07S: 2

A 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 the Classical, Romantic, and twentieth-century eras. Students 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 at the keyboard.

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

22. Form, Analysis, and Orchestration

05F, 06F: 2A

This course begins with a study of the important tonal forms of Western music, in particular concerto forms and sonata form as found in the piano sonata, string quartet, and symphony. Students 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

05F, 06S, 06F: 2

The course is intended for students who demonstrate a serious interest in creative work with electro-acoustic music. 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, Dodge.


29. Perspectives in Music Performance

06S: D.F.S.P.

This course combines the study of music with an intensive exposure to musical performance. Students attend concerts, examine works selected from the repertoire, and keep a journal of concert observations. Performance practices of various historical style periods are reviewed in their historical context, including such factors as the circumstances of composition, the place of the work within a composer’s total output, and the contribution of individual works to the development of musical form and style. Dist: ART.

30. The History of Music in England

06S: D.F.S.P.

A close examination of the circumstances in which music has been composed and performed in England from early times to the present. Course topics include the effects of ruling monarchs and changing religious affiliations on musical life, the rise of music societies, and the influence of music from Continental Europe such as opera and the Italian madrigal. Students will study works by 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.


31. Western Art Music of the Middle Ages, the Renaissance and the Early Baroque

06S, 07S: 3A

A historical and stylistic survey that begins with the development of liturgical chant and secular song in the Middle Ages (ca. 800) and ends with the emergence of a seconda prattica that provides the foundation for Western musical languages after 1600. The course syllabus focuses on music from the Cathedral of Notre Dame and other French music, as well as on Italian, English, Flemish and German traditions. Representative composers include Machaut, Dufay, Dunstable, Ockeghem, Josquin, Palestrina, Byrd, Gabrieli and Monteverdi.

Prerequisite: Music 21, or permission of the instructor. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Summers.

32. Western Art Music from the Early Baroque Through Beethoven

07W: 3A07X: 10A

Beginning with church music and opera in the seventeenth century, the course emphasizes the development of large-scale instrumental and musical-dramatic forms and the rise of new harmonic and structural concepts, culminating in the music of Beethoven. Representative composers, in addition to Beethoven, include Bach, Vivaldi, Handel, Haydn, Mozart, Rameau, Purcell, Schütz, Lully, and Frescobaldi.

Prerequisite: Music 20, or permission of the instructor. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Summers.

33. Western Art Music from Early Romanticism to the Late Twentieth Century

06W, 07S: 10A

The century-and-a-half-long period from the emergence of Romanticism in music to the “rediscovery�? of tonality in the late 1970s was characterized by a tension between innovative experiments with new styles, media, and techniques and the continuing evolution of older musical forms and languages. Drawing on the work of composers such as Schubert, Berlioz, Schumann, Brahms, Wagner, Verdi, Debussy, Schoenberg, Ives, Bartók, Stravinsky, Shostakovich, Stockhausen, Cage, Ligeti, Glass, and Adams, the course will trace the interplay of innovation, tradition, and reinvention in the classical concert music repertory that remains most influential in our own time.

Prerequisite: Music 20, or permission of the instructor. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Swayne.

34. Twentieth-Century Music

05F: 10

Music composed during the last hundred years is filled with exciting new sounds and ideas, and represents a great variety of genres rooted in diverse cultures. This course examines the artistic explorations of some of the leading composers in the twentieth-century Euro-American concert music tradition. Representative composers include Bartók, Berio, Cage, Crumb, Debussy, Glass, Ives, Ligeti, Lutoslawski, Ravel, Riley, Schoenberg, Shostakovich, Stockhausen, Stravinsky, Takemitsu, Tan Dun, Varese, and Webern.

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. Lyon.

35. Beethoven in Context

06W, 07S: 2

This course examines the life and music of Ludwig van Beethoven. In the hands of critics, historians, and visual artists of his own time, Beethoven was elevated to the status of a genius, a perception that persists today. Nineteenth-century representations of Beethoven as a towering persona will be compared with modern biographies, recordings, and video-tape productions in order to construct an accurate picture of Beethoven, the creative artist and the man. Students will listen to and discuss works that illustrate the developments in Beethoven’s compositional style. Performers 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

06S: 2A06F: 10A

In 06S, Mozart. No prerequisite. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Summers.

In 06F, Shostakovich. No prerequisite. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Swayne.

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 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

06F: 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 and 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

06W: 3A07W: 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 ethnomusicological research. Topics include musical orality and literacy, innovation within tradition, gender and music-making, and the role of cultural advocacy in ethnomusicology.

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

41. Music, Ceremony, Ritual, and Sacred Chant

Not offered in the period from 05F through 07S

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. No prerequisite. Dist: ART; WCult: NW. Levin.


50. Performance Laboratories

05F, 06S, 06W, 06F, 07W, 07S: Arrange (Sections 1, 2, 3, 5), 2A (Section 4)

Performance Laboratories provide weekly coaching and instruction in diverse forms of music-making, and are open by audition to all Dartmouth students. Course work centers on musical readings, discussion, and informal performance of selected repertory chosen both for its intrinsic interest and for its relevance to the contents of course syllabi within the Music Department. Performance laboratories may be taken for credit (three terms equals

one credit, except section 4, for which 1 term equals one credit) or, subject to space availability, on a not-for-credit basis. Music majors and minors are required to take at least three terms of Performance Laboratory for credit, including at least one term of the “Oral Tradition Musicianship�? laboratory. Subject to space availability, students may enroll in different laboratories during different terms. Terms of enrollment need not be consecutive.

The following performance laboratories are offered in 2005-2007:

Chamber Music (section 1). Depending on enrollment and distribution of instruments, this laboratory may be broken down into several configurations, e.g., quartet, piano quintet, wind octet, string trio, etc. Repertory focuses on chamber music from the eighteenth century through the first half of the twentieth. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W.

Contemporary Music (section 2). The contemporary music laboratory will read through and study works appropriate to the participants’ skill level, and where possible, collaborate with Dartmouth’s compositional community in informal performances of newly composed works. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W.

Jazz Improvisation (section 3). This course serves as a laboratory for students with some preparation in jazz to develop skills in composition, arranging, and performance. Ensemble configurations will be determined each term on the basis of enrollment. Dist: ART. Class of 2007 and earlier: WCult: NA. Class of 2008 and later: WCult: W.

Oral Tradition Musicianship (section 4). Through disciplined practice of West African, Afro-Caribbean, and Afro-Brazilian percussion-based music under the leadership of a master drummer, students will enter a musical world in which creating, mentoring, and communicating are all rooted in oral tradition. Weekly music-making is integrated with discussions and audio-visual material that culturally contextualize the musical traditions being performed. Dist: ART; WCult: NW.

Indonesian Gamelan (section 5; spring term only). An introduction to performing music for gamelan, the orchestra of gongs, xylophones, and other percussion instruments indigenous to Indonesia but now found in many parts of the world. No previous experience on gamelan instruments is necessary. Priority given to music majors and minors. Dist: ART; WCult: NW.

70. Conducting

06X, 07X: 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.


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.


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. The Music of Today

06S: 207S: 2A

A survey of the eclectic and ebullient world of contemporary concert music as created and performed in the United States, Europe, China, Russia, and elsewhere in the world. The seminar focuses on musical repertory, with the aim of providing broad exposure to work that has been critically acclaimed as compelling and important. Representative composers include Steve Reich, Terry Riley, Lou Harrison, John Adams, Arvo Pärt, Tan Dun, Sofia Gubaidulina, Kaija Sariaho, Osvaldo Golijov, and Aaron Jay Kernis. Students completing an honors project in contemporary music may petition the department to exempt themselves from the writing component of this seminar.

Prerequisite: Music 33 or permission of the instructor. Dist: ART. Class of 2008 and later: WCult: W.

86. Other Special Studies. Permission of the instructor.

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

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

88. Honors

All terms: Arrange


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.


See the requirements for the Master’s degree in Electro-Acoustic Music above.

101 A. Music Cognition

Not offered in the period from 05F through 07S

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

06F: 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

06S: 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

06W, 06S, 07S: 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 musicians 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

07W: 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.

139. Directed Research. The staff.