Lower-Division

A study of selected works for mixed chorus, with emphasis on masterworks for chorus and orchestra, culminating in one or more public concerts. Familiarity with basic music notation recommended. Admission by audition with conductor prior to first class meeting.

A study of selected works for orchestra, culminating in one or more public concerts. Admission by audition with conductor prior to first class meeting.

Instruction in performance in large jazz ensembles with written arrangements. Prepares a specific repertory for public performance. Admission by audition with conductor prior to first class meeting.

Instruction in practice and performance of gamelan music from Java or Sunda. Preparation of several works for public presentation.

Instruction in practice and performance of gamelan music from Java or Sunda. Preparation of several works for public presentation. Attend first class meeting.

Instruction in practice and performance of gamelan music from Java or Sunda. Preparation of several works for public presentation. Attend first class meeting.

Study of selected repertoire and instruction in performance for classical guitar ensemble. Ensembles for guitar and other instruments will prepare works for public performances both on and off campus. All students enrolled in individual guitar lessons are expected to enroll. Students of other instruments or voice may also audition. Some additional rehearsal time, individually and with the group, is required. Admission by audition with instructor prior to first class meeting.

An interdisciplinary examination of various topics and issues in music, featuring an array of guest speakers. Part of the spring quarter Arts Division Dean's Lecture Series.

Instruction in Balinese gamelan. Utilizes pitched percussion instruments to learn highly ornate and complex pieces through rote learning; students are not required to read music. Focuses on traditional repertoire and basic gamelan techniques for public performance. Enrollment by permission of the instructor at the first class meeting.

Instruction in Balinese gamelan. Utilizes pitched percussion instruments to learn highly ornate and complex pieces through rote learning; students are not required to read music. Focuses on advanced traditional and contemporary repertoire for public performance.

A study of selected advanced-level works for wind ensemble, culminating in one or more public concerts. Admission by audition with conductor prior to first class meeting.

Performing ensemble focusing on the vernacular and art musics of the Eurasian continent, with emphasis on Central Asia. (Formerly Eurasian Ensemble.)

A study of significant works of classical music from Gregorian chant to the present day in relation to the historical periods they represent. Emphasizes the listening experience and awareness of musical style and structure. Illustrated lectures and directed listening.

Designed to provide students with thorough and comprehensive background in history and roots of jazz as a musical style from its African roots to the present. Essential jazz styles and traditions are discussed through lectures, required listening, readings, lecture demonstrations, and film presentations.

Covers topics reflecting distinctive features of selected world music cultures. Introduces content, scope, and method of ethnomusicology. Focuses on understanding the musical styles, performance practices, and cultural functions of these musical traditions. Incorporates live class performance of selected music.

Focuses on the stylistic practice of mariachi music of Mexico. Centralizes efforts learning dance music as the son jalisciense, as well as popular singing genres that include the huapango, canción ranchera, corridos, and boleros. Students must have previous experience with music performance and applicable instruments.

Instruction in the aesthetic, cultural, and historical dimensions of Mexican Folklorico dance and music. Brings together a dance ensemble and a music ensemble. Enrollment is by permission of the instructor.

Fundamentals of sound production notation in music. Emphasis on the development of the ear and rhythmic skills. Course involves significant participation through in-class performance.

Students learn basic elements of musical language: rhythms, meters, scales, intervals, and chords. All of these elements will be studied both singly and in their interrelationships within musical compositions. The study of structural elements of music will incorporate both theoretical and practical aspects of learning, including written, keyboard, singing, and aural exercises. Enrollment is by permission of the instructor.

Basic studies in musicianship related to Western European notation and literature. Students with prior training in music notation develop literacy in basic tonal melody and harmony. Skills include dictation and sight-reading. Simple composition and analysis exercises accompany the training. Enrollment by placement examination and permission of instructor.

Explores the physics and socio-historical foundations of music so that students are effectively equipped to undertake further culturally informed study in music theory. No prior formal music education is required for this class, though students should have some experience singing or playing an instrument.

Integrated musicianship, theory, and analysis. Species counterpoint and fundamentals of tonal harmony. Analysis of literature from the Middle Ages and Renaissance. Ear-training, taught in smaller sections, emphasizes recognition of triad and dominant-seventh inversions, dictation of diatonic melodies, and aural analysis of simple diatonic interval and chord progressions. Most of the ear-training materials consist of homophonic and polyphonic examples from music literature performed live in class. Prerequisite: admission by core curriculum placement examination.

Integrated musicianship, theory, and analysis. Diatonic harmony and fundamentals of chromatic harmony and musical form, with an emphasis on early 18th-century styles. Ear-training, taught in smaller sections, emphasizes recognition of triad and seventh-chord qualities and inversions, dictation of moderately complex melodies and multi-voice chorales, and aural analysis of chord progressions including secondary functions. Most of the ear-training materials consist of homophonic and polyphonic examples from music literature performed live in class. Prerequisite(s): MUSC 30A; instructor determination at first class meeting.

Integrated musicianship, theory, and analysis. Chromatic harmony and large forms, with emphasis on late 18th- and early 19th-century styles. Ear-training, taught in smaller sections, emphasizes melodic and multi-voice dictation, as well as aural analysis of chord progressions, with materials including digressions, modulations, and advanced chromatic idioms. Most of the ear-training materials consist of homophonic and polyphonic examples from music literature performed live in class. Prerequisite(s): MUSC  30B; instructor determination at first class meeting.

The study and performance of vocal repertoire from 1400 to the present, including solo song, oratorio, opera, ensemble music. Emphasis is given to the development of effective performance skills, culminating in public performance. Attend first class meeting; concurrent enrollment in individual voice lessons with instructor of this course is required.

Designed to give guitar students who are pursuing the music major and minor, a weekly performance opportunity. Student performers receive feedback and constructive criticism from the instructors and from their peers. The instructors also offer insight and tips on choosing repertoire, performance anxiety and solutions, and historical and cultural context of the composers and music performed in the class. Enrollment by permission of instructor.

A course covering the music of North India taught using the oral traditions of Indian music. For beginners as well as more experienced students, this course is well suited for instrumentalists and vocalists. Interview; instructor determination at first class meeting.

Introduces students to the richness of North Indian rhythms. Includes hands-on exploration of the language of rhythm that is specific to learning the tabla.

Covers learning to vocalize and play tabla bols. Also works on perfecting the technique of playing the various drum sounds on the tabla, pakhavaj or the dholak. Fundamental rhythmic exercises are focused on learning and improving playing technique and concentrate on compositions, such as a theka, theka prakar, kaida, rela, and tihai. Much of class time is spent on"hands-on" performance interspersed with short instructional bursts to improve each student's level of playability. Lab hours allotted as per student's practice needs.

An active, hands-on introduction to music where no previous musical experience is needed. Using pitched and non-pitched percussion, students are placed into small groups where they create and perform new pieces. Within this framework, students learn about scales, modes, rhythmic structures and form.

Provides a selective historical and technical survey of jazz guitar. In addition to short lectures that provide historical context, students will also learn the basic building blocks of accompaniment and soloing in a variety of styles. Enrollment by permission of instructor.

Explores the craft of songwriting through listening, analysis, performance, and songwriting assignments. Students are exposed to a variety of writing styles from diverse musical backgrounds such as pop, rock, folk, jazz, avant-garde, classical, and world music. Students gain the ability to analyze a song's form, its textual rhythmic scheme, mood, and performative aspects. Students also compose, record, and perform song samples demonstrating their understanding and creative approach to the concepts discussed in class.

Introductory instruction in piano technique, staff notation, and music theory. Includes group and individual performance experience. A minimum of six hours per week individual practice required. Appropriate for students with little/no piano experience. Students are billed a materials fee. Enrollment is by permission of the instructor. Students audition to determine their skill level.

Elementary instruction in piano technique, including group and individual performance experience. A minimum of six hours per week of individual practice is required. Curriculum is coordinated with keyboard requirements of MUSC 30A. Concurrent enrollment in MUSC 30A is required. Students are billed a course fee. Prerequisite(s): Instructor determination at first class meeting. (Formerly Group Instruction in Piano.)

One-half hour of individual instrumental or vocal instruction. Repertory, technique, and performance practice. A minimum of six hours per week of individual practice is required. Concurrent enrollment in an ensemble in the lesson instrument or voice is required. Students are billed a course fee. Admission by audition with the instructor prior to first class meeting. Enrollment priority given to music majors and minors.

One hour of individual instrumental or vocal instruction. Repertory, technique, and performance practice. A minimum of nine hours per week of individual practice is required. Concurrent enrollment in an ensemble in the lesson instrument or voice is required. Students are billed a course fee. Admission by audition with the instructor prior to first class meeting. Enrollment priority given to music majors and minors.

Elementary group instruction in instrumental (excluding piano) or vocal techniques, including group and individual performance experience. A minimum of six hours per week of individual practice is required. Students are billed a course fee. Admission by audition with the instructor prior to first class meeting.

Studio course designed to explore relationships between music, sound, and the ocean. Students learn from a broad selection of music from oceanic and western cultures, deep listening techniques, and scientific research on underwater sound and apply it to their own music making. Students also explore connections between electronic music making and environmental sound research, including an introduction to listening techniques, recording, editing and analysis, composition and installation. Open to performers, composers, and theorists, as well as those from other disciplines, who want to expand their knowledge and practice in an experimental environment. Course ends with an online performance/presentation of new student work.

Introduction to the basics of jazz improvisation, including theory, harmony, rhythm, improvisation techniques, aesthetics and idiomatic devices. Exposure to jazz repertoire through in-class performances of swing, blues, modal and Latin styles. Admission is by audition with instructor at first class meeting.

Studies in the modes, scales, chord alternations and extensions, chord voicings, chord progressions, and forms that underlie jazz improvisation, composition, and arranging in a variety of styles. (Formerly Beginning Improvisational Theory.)

North India has some of the most melodic, and rhythmically complex musical forms in the world. Jazz, rock, pop and classical musicians are increasingly studying Indian music to give themselves an edge in today's musical landscape. The purpose of this class is to provide all musicians with a theoretical and practical performance approach using the knowledge of the North Indian music system. The goal is to enhance the melodic and rhythmic sensibilities and to open new doors to boost creativity and give a unique slant to composing and playing music.

Exploration of the commonalities between music cultures found along ancient trade routes through Asia.

Introduces basic concepts of ethnomusicology; instructs students in the development of listening and analytical skills; and explores selected musical areas of East Asia, Southeast Asia, and South Asia.

This survey of electronic music from previous centuries to the present studies the works and aesthetics of important composers, acoustics, musical perception, the effects of technological innovation on cultural evolution, and the development of synthesizers and computer music.

Survey of American music and its dynamic formation through cultural constructions of racial difference. Students hear music as contentious signals of identity, power, and transgressions, contextualized by wide-ranging testimony on racial difference, ethnicity, gender, sexuality, and musical practice.

In-depth study of select music cultures of Mexico, Central America, and Caribbean, Brazil, Chile, Argentina, Colombia, and Peru. Characteristic regional genres, ensembles, instruments, and music rituals. Case studies by ethnomusicologists with expertise in specific regional musics. Also Latin American Nueva Canción, women's musics, and overarching themes in Latin American music, as a whole. Offered on a rotational basis with other non-Western courses in the 80 series.

Surveys American musicals from operetta through rock musicals with a historical approach focusing on selected examples from the literature. Music reading or musical experience helpful but not required.

Introductory study of the Hollywood music film, exploring the theory of film sound, the musical genre, and representative works from the 1920s to the present. Students expected to view about two films each week, read assigned section of texts, and contribute to class discussions.

Historical, musicological, and anthropological study of the many (and often conflicting) worlds brought together by Israeli popular and art music: Jewish and Arabic traditions, Western ideals, and modern beats.

Surveys American folk music, both instrumental and vocal, by region and period. Approach is primarily through listening. Previous musical experience helpful, but not required.

Study the role of sound in artistic creation and scientific research related to the environment. Topics include: environmental sound monitoring, increasing environmental awareness, social activism, discovery of sound phenomena, knowledge of audio tools and techniques, sound and environmental problem-solving.

An introduction to basic concepts in music and artificial intelligence, and to algorithmic composition (composition by a set of explicit instructions, often using the computer). Other topics include basic introductions to related concepts in linguistics, mathematics, neural nets, pattern matching, genetic algorithms, fuzzy logic, and interactive systems. Previous experience in one or more of these topics is helpful but not required. Students produce a project based on one of the models presented in class.

A survey of film music including a discussion of current trends and film composers. Techniques and styles of film music are explored through lectures, required listenings, readings, and viewing of relevant films. A musical background, including the ability to read music, is helpful but not necessary.

In-depth exploration of the music of the Grateful Dead. Contextual study of the sociology and history of the late 1960s psychedelic movement supplies background for study of the music as the band evolved through time.

Examination of relationship between music, politics, and protest in the U.S. in the 20th century, with focus on how music commented upon and reflected different eras in American cultural and political life.

Introduces music and cultural studies, surveys popular music in the United States from 18th-century minstrelsy to 21st-century social media consumer-producers. Emphasizes narratives of race, complicated by ethnicity, gender, and class, informing ways of valuing music, and its capacity for social representation. (Formerly Music 11C, Introduction to American Popular Music.)

Traces the various stylistic musical areas throughout the African continent and explores the development of traditional African music from antiquity into the 20th century.

A survey of how the Internet has influenced how music is made, transmitted, and consumed. Students discuss the history and ethics of file sharing and open source software, telematics and methods of music-making via the Internet, virtual communities, and social media. Students explore these topics through research and creative projects. (Formerly Music and the World Wide Web.)

An exploration of the sociological position of women as composers and performers in Western and non-Western musics, with a focus on both ethnographic and historical sources.

A survey of the musical traditions of the Jews of North Africa and the Middle East. Based on the Maqamat, the Arabic musical modes, Jewish music flourished under Islamic rule, encompassing the fields of sacred, popular, and art music.

The most significant group in the history of popular music, the Beatles spanned the gamut of styles from hard-edged R & B to sophisticated art-rock. This course explores their work in detail, in its own terms, and in the historical/cultural/technological contexts. Students cannot receive credit for both this course and MUSC 180V in the same quarter. MUSC 11C is recommended but not required as preparation.

Explores the many facets of the music industry: history, technology, economics, sociology, and legislation. Provides both a broad understanding of the industry and a pragmatic survey of available career paths. Students cannot receive credit for both this course and MUSC 180W in the same quarter.

A survey course in Hindustani (North Indian) and Karnatak (South Indian) music covering the Raga (modal system) and Tala (metric system) as they have developed in the two traditions. Consideration is given to the historical development of the music, from Vedic chanting to the modern Raga system; social functions of the music throughout history; and instrumental and vocal forms with an emphasis on listening.

The musical legacy of the Holocaust: music and anti-Semitism in the 19th century; morality, collaboration, and composing in the Third Reich; music in the ghettos and concentration camps; impact on post-war music; second-generation composers' trauma; music in Holocaust films.

Basic digital audio editing and mixing; related concepts in the physics of sound, psychoacoustics, and the digital representation and computer control of audio. Musical notation of musical pulse, meter, and rhythm, and sonic realization via MIDI (musical instrument digital interface). Using their own computers, students complete projects involving recording and spectral analysis, creative editing and mixing of existing recordings, composition of polyphonic drum rhythms, and constructing a collaborative sonic environment.

Involves examination, evaluation, performance, and discussion of rap music and its relationship to hop hop culture. Looks at three primary areas: historical periods of rap, aspects of performance practice, and lyrical content related to issues in contemporary society. Students engage in listening exercises, performances and presentations, and discuss the placement of rap in an academic setting. No prior musical knowledge is required.

This cultural study of global popular musics explores musical sounds, practices, and discourse via an examination of the development of the category world music. It explores how music and mass media engage broader issues around globalization, ethnic, national, and transnational identities; popular resistance; censorship; and cultural hegemony.

Introduces the role of music and musical practices in social movements, cultural changes, and activism in the 20th and 21st centuries in Latin America and Latina/o communities in the United States and other parts of the world where Latin American cultures are vibrant.Case studies covered in class demonstrate how actions occur within social, political, economical, and environmental spheres that impact the formation of identities, the negotiation around human rights, and the well-being of communities.

Surveys the history of the guitar--one of the world's most popular, adaptable, and ubiquitous instruments--by tracing its organological development in the late Renaissance and analyzing representative historical moments of widespread cultural relevance through a technological lens.

During the Golden Age Era of Hip Hop (late 1980s to mid-1990s) there was a creative explosion of musical representation in rap/hip hop music. Beginning after the commercial success of Run DMC in 1986, class focus continues until the deaths of Tupac Shakur (1996) and the Notorious BIG (1997). In between these points some of the most influential and controversial figures in hip hop history emerge.

Explores the wealth of musical culture from throughout the Indonesian archipelago, including islands such as Bali, Java, Sumatra, and Lombok. Students learn about traditional, popular, and contemporary musics from this these islands and examine their historical, cultural, and religious interconnections. Major themes include global music theory, cultural identity, religious identity, and cultural exchange. This course also features a lab element in which students have the chance to get hands-on experience learning to play the music of Indonesia using the university’s diverse collection of Balinese and Javanese instruments.

Examines global cultural history through the primary lens of jazz music evolution from its traditional African source through the nexus of the primary elements of sound. Students use music to examine and explore the intersections between many global cultural developments.

Examines the process of music making and how it is tied to the notion of space, place, identity and ethnicity, focusing on musical styles, genres, forms, and repertoires in Chicana/o and Latina/o communities in the United States.

Survey of the diverse and rich musical traditions of Jewish music in the diaspora from biblical times to the present. Examines the historical, social, and anthropological aspects of the different communities from sacred music through art and popular songs. (Formerly course 80P.)

Rock in the 1970s topped music charts while expanding far beyond the radio single. Many 70s artists, such as Elton John, Led Zeppelin, and Pink Floyd, continue to enjoy widespread popularity today. Music 81R engages with key albums and artists from the 1970s and provides students with opportunities to cultivate analytical listening skills and examine this decade in rock, its roots, and its biases. Through weekly discussion assignments culminating in a final album review project, students develop the creative practice of rock music criticism.

Examines the historical and cultural role of music in science fiction literature, film, and television, asking students to question how music is used to convey the strange and unfamiliar and to further think critically about why music is able to do so. Also covers science fiction in opera, symphonic music, and popular music, highlighting the musical elements that comprise the sounds of science fiction.

A practical introduction to the tools and techniques used for live sound reinforcement and studio recording. Hands-on demonstrations of different microphones, speakers, hardware and software processors, analog and digital systems.

Provides a means for a small group of students to study a particular topic in consultation with a faculty sponsor. Admission requires approval of department.

A program of directed study arranged with a department faculty member. Students submit petition to sponsoring agency.

A program of directed study arranged with a department faculty member. Class time is proportionally less than a five-credit course. Students submit petition to sponsoring agency.