102.  Music in Western Civilization. The focus of this course is the development of music in the civilizations of Europe and America, not only as an art with its own history, but also as a mirror of the artistic, social, political, and economic development of the Western world.  Students are introduced to a basic repertoire in classical music.  No prerequisites.  Professor Torres / Professor Cummings

103.  Introduction to World Music Traditions.  An exploration of the history, styles, and performance practices of music of African, Asian, and Indian cultures.  The study of the music in the context of cultural traditions and institutions, and its influence on the music of Europe and America, encourages students to examine music from a cross-cultural perspective and to experience the music through performance.  Offered each semester.  No Prerequisite. Professor Stockton.

104.  Music Technology 1. This course explores the use of computers to compose music in a digital format through sequencing and sampling software.  The basics of melody, rhythm, and harmony will be examined as they relate to computer-assisted music composition.  Weekly assignment engage students in exploring specific techniques and features of digital audio software.  The final capstone project involves utilizing all skills developed in the course to compose a multi-track musical composition in a variety of audio file formats.  No prerequisite.  Staff

121.  Music Theory I.  This introductory course in music theory begins with a review of elemental concepts including pitch and rhythm notation, intervals, scales and triads. The primary focus will then be on a study of the "Common Practice Period," encompassing diatonic harmonic practices since the 19th century, with correlated sight singing, ear training and keyboard assignments.   One-hour laboratory session arranged. No Prerequisites.  Professor Wilkins.

130.  Class Piano Laboratory. This course is intended for those students who wish to begin study of the piano, particularly those with limited or no music reading skills.  The class of five or six beginning piano students meets 50 minutes twice a week for twelve weeks.  Music reading in both treble and bass clefs, as well as basic piano techniques such as scales, hand position, and other technical concepts are taught.  ¼ course.  Ms. Fisher

140.  Applied Music Instruction (non-credit). Private instruction for students who wish no academic credit. Twelve private lessons of 45 minutes each.  No credit or grade given.  Considered an “audited course.” (Extra fee) Staff

141.  Applied Music Instruction.This is the primary course for students interested in private instrumental or vocal instruction.  Twelve lessons of 45 minutes each.  Jury examination is required.  ¼ course designation.  Credits may be combined up to the equivalent of 2 courses to satisfy Humanities elective requirements. (Extra fee) Staff

142.  Intensive Applied Music Instruction.  This course is reserved for advanced students who have completed a minimum of two semesters of Music 141 with grades of “A.”  Both Jury examination and exemplary recital participation are required.  Twelve lessons of 60 minutes each. ½ course designation.  Credits may be combined up to the equivalent of 2 courses to satisfy Humanities elective requirements. (Extra fee) Staff

150-161.  Ensemble Performance. Active participation in an approved musical ensemble.   Regular attendance at rehearsals and all performances in addition to other requirements as deemed necessary. ¼ course designation. Credits may be combined up to the equivalent of 2 courses to satisfy Humanities elective requirements.  Staff

Current Credit Ensembles: Choir (Mus 150), Jazz Ensemble (Mus 151),  Chamber Music Ensembles (Mus 152),  Orchestra (Mus 153), Concert Band (Mus 154), Jazz Combo (Mus 155), Percussion Ensemble (Mus 158), Chamber Singers (Mus 160), Early Music Ensemble (Mus 161).

Current Non-credit Ensembles:  Pep Band and Brass Ensemble

201.  Music History & Literarure: 1600-1915.  This course surveys the music of the Western "cultivated" tradition (the "Baroque," "Classical," and "Romantic" periods).  The repertoire is presented through lectures, discussion, readings, and sound recordings.  Emphasis is on an analysis of and engagement with actual music compositions, representative of the principal stylistic developments characteristic of each of the three major style periods.  Mus 121 or permission of instructor.  Professor Torres, Professor Cummings.

202.  Music History & Literature: 1915-Present.  This course examines music since 1915 through extensive listening.  Course content includes a survey of Western art music as well as examples of blues, jazz, musical theater, rock, and non-Western music.  The repertoire is presented through a study of readings, sound recordings, films, and lectures.  Students encounter the communities, histories, traditions, and newer forms of expression of music since the early decades of the 20th century.  Music 121 or permission of instructor.  Professor Cummings, Professor Torres.

224. Jazz Improvisation.  This course is designed for students who have strong interests in jazz improvisation and performance.  Students will expand their historical knowledge and listening skills, study jazz harmony in detail, analyze song forms and chord structires, enhance keyboard skills, learn to song improvised solos, transcribe and perform solos from recordings, and perform regularly in class.  Students will develop specialized musicianship skills with many assignments being individualized and project-based.  Music 222 or permission of instructor.  Professor Wilkins.

240.  Women in Music.  This course will examine outstanding musical achievements of women throughout history and in contemporary society.  Women's global contribution to music will be explored through diverse styles of composition and performance, active participation in education, and patronage.  Topics include music and power, gender, class, challenging the "roles," and performing identities.  In an active classroom environment, students will have ample challenge, lead, and discover their own contribution to the arts through valid argument.  Prerequisite:  a music course, a "Womens Studies" course, or permission of instructor.  Professor Kelly

323.  Music Theory III.  This course furthers the study of the "Common Practice Period" with chromatic language since the eighteenth century, with correlated sight-singing, ear training, and keyboard assignments.  Concepts include diatonic 7th chords in 4-part harmony, borrowed chords and augmented 6th chords, chromatic and enharmonic modulation, secondary sub-dominants and passing chords, jass analysis and keyboard voicing, chromatic improvisation, and topics in form and analysis.  Additional one-hour lab scheduled weekly.  Music 222 or permission of instructor. Professor Wilkins.

324.  Twentieth Century Harmonic Practice.  This course continues the study of chromatic harmony of post-Romanticism and begins the study of  20th century idioms.  Students will compose short works in 20th century styles for small ensemble settings.  Students will also analyze important works by Stravinsky, Bartok, Schoenberg, Copland, and others.  Music 222 or permission of instructor.  Professor Wilkins

325.  Composition Seminar.  This course is designed for advanced and highly motivated music theory students interested in writing music for ensembles or individual instruments and voices.  Students will compose works in genres largely of their own choosing and will organize and rehearse ensembles appropriate to their compositions, with musicians chosen primarily from the College community.  Additionally, students will research various composers, examining a range of publications produced by the selected composers themselves.  Music 324.  Staff

204.  Music Technology II.  This course is designed to further develop skills and applications of technology as introduced in Music 104.  It explores music composition, arranging, and digital audio editing using advanced computer hardware and software.  The course is projects-based, using software applications that focus on digital music sequencing, editing, and notation.  Mus 104 or permission of instructor. Staff

222.  Music Theory II.  This course continues the study of advanced diatonic harmonic practices, with correlated sight singing, ear training and keyboard assignments.  Concepts covered will include: inverted triads in four-part harmony, harmonic cadences, dominant seventh chords in four-part harmony, non-harmonic tones, jazz extended chords, improvisation, and exercises in basic form and analysis.  One-hour laboratory session arranged. Mus 121 or permission of instructor.  Professor Wilkins

231-39.  Selected Studies in World Music.  The goal of these courses is to explore the indigenous music of selected cultures and regions independent of Western "common practice."  Through guided listening, performance activities, and cultural analysis students will experience both the aural landscape and the larger phenomenon of how music functions within culture.  Possible topics include the musical culture of a region (e.g., Africa, Asia, Latin America) or a country (e.g., Japan, CHina, India).  Descriptions are available through the Department office and the Registrar's Office. Staff

251-259.  Selected Studies in Music Theory and Analysis.  Courses taught under this title focus on an area of music theory, analysis, or composition.  Possible topics include the theoretical concepts that underlie an era of “school” (e.g., the “New Viennese School”), a theoretical/ compositional discipline such as 18th-Century Counterpoint, or a special aspect of analysis such as Form and Structure in Music.  Descriptions of current offerings are available through the department office and the Registrar’s Office.  Prerequisites:  Music 101 and others as appropriate to the topic.  3 hours lecture/discussion/laboratory, 1 hour listening.  Staff

Music 261-269.  Selected Studies in Music History and Literature.  Courses taught under this title focus on an area of music history and literature.  Possible topics include the historical development and the repertoire of an era of “school” (e.g., the Baroque Era, French Music, Music in the United States, the History of Jazz).  These courses typically investigate the masterworks and lives of the principal composers of the era as well as the social and musical concepts that influenced the period.  Classes typically involve lecture, discussion, student presentations, field trips, and live and videotaped performances as well as sound recordings.  Descriptions of current offerings are available through the department office and the Registrar’s Office.  Prerequisites:  Music 101 or 102 and other courses as appropriate to the topic.  3 hours lecture/discussion/laboratory, 1 hour listening.  Staff

271-279.  Selected Studies in Musical Forms and Genres.  Courses taught under this title focus on a particular musical form or genre.  Possible topics include the historical development and literature of opera, the symphony, chamber music, vocal and choral music, music for keyboard instruments, etc.  These courses typically investigate the masterworks in a genre, the lives and contributions of composers in several areas, and the social, technological, and musical factors that have affected the development of that genre.  Classes typically involve lecture, discussion, student presentations, field trips, and live and videotaped performances as well as sound recordings.  Descriptions of current offerings are available through the department office and the Registrar’s Office.  Prerequisites:  Music 101 or 102 and other courses as appropriate to the topic.  3 hours lecture/discussion/laboratory, 1 hour listening.  Staff

281-289.  Selected of Great Composers.  Courses taught under this title focus on the music of an individual composer.  Possible choices include Bach, Mozart, Beethoven, Verdi, Stravinsky, to name but a few.  These courses typically investigate the masterworks in the important genres, the ife and musical development of the individual studies, and the social factors that affected the time period in which he/she lived.  Classes typically involve lecture, discussion, student presentations, field trips, and live and videotaped performances as well as sound recordings.  Descriptions of current offerings are available through the department office and the Registrar’s Office.  Prerequisites:  Music 101 or 102 and other courses as appropriate to the topic.  3 hours lecture/discussion/laboratory, 1 hour listening.  Staff

351-360.  Special Topics. The detailed study of a composer, school, specific style or topic, employing more advanced analytical tools.  Topics in pasts years have included African-American Music; Mozart:  The Man, the Myth, the Music; History of Jazz; The Music of J. S. Bach.  Topics for the following year are announced at spring registration.  The typical classroom experiences are augmented by artist visits and field trips to suitable venues, for example, a jazz club or concert for the course on Jazz History.  Permission of instructor required.  Staff

371, 372.  Internship. Students majoring in music may wish to explore career opportunities by participating in an approved internship with a professional performing organization, arts management consultant, or related music industry representative.  Under the supervision of a designated internship sponsor, the student develops and completes a work-related project.  Additional activities include assigned readings and a final written report.  Permission of department head required.  Professor Stockton.

380.  Junior/Senior Seminar. Advanced special topics studies emphasizing research in greater depth of a selected musicological problem.  Open only to junior and senior music majors and minors.  Permission of department head required.

391,392.  Independent Study. Individual projects in musicology, theory, of composition, with emphasis on the bibliographic and analytical tools of music research or composition.  Open to students with a strong background in music.  Permission of department head required.

491, 492.  Senior Project. Independent study of a selected problem in musicology, theory, or composition, with emphasis on the bibliographical and analytical tools of music research, resulting in the completion of a project such as a research paper or a series of original compositions.  Open only to senior Music majors.  Permission of department head required.

495, 496.  Senior Project. Thesis/Honors independent study of a selected problem in musicology, theory, or composition, with emphasis on the bibliographical and analytical tools of music research, resulting in the completion of a project such as a research paper or a series of original compositions.  Open only to senior Music majors.  Upon completion of 496, the awarding of Departmental Honors is determined by successful defense of the thesis.  Permission of department head required.  [496:W]

Music 193: New York Jazz Experience   (click for NY JAZZ Home Page)

This course introduced students to the wide range of activities and experiences in New York’s jazz community.  Through concerts, jam sessions, conversations with artists, historical film, oral histories, and selected readings, the course provides experiences equally valuable to jazz players and non-musicians.  Though emphasis is placed on the historical development, elements, and process of jazz, the primary focus of the course is experiential.  Professors Torres & Stockton.