Course Offerings

History and Appreciation

151 The Musical Experience

M. Cheng, D. Morrill

This introductory course is designed to acquaint the listener with some of the masterpieces of Western music from the Renaissance to the present and to develop an awareness of the role of musical elements, such as melody and orchestration, in the works studied. While it is not expected that students have played an instrument or read music, the course does attempt to develop some skills in score reading and notation. Recordings for the listening assignments are on reserve in the Music Room in Case Library, and students are asked to attend some concerts during the term. This course may not be elected after a 200-level course has been taken.

161 The History of Jazz

D. Morrill

A study of American jazz from 1920 to the present, through readings, recordings, and class lectures. Several topics are studied in depth: the roots of jazz, the quality of swing, the development of solo improvisation, the blues, and the harmonic foundation. Several important composers, bands, and soloists are featured, including Louis Armstrong, Duke Ellington, Charlie Parker, and the Miles Davis groups.

211 Music History I: Medieval and Renaissance Periods

J.Swain

A survey of music history from about 900 to 1600, the period of the medieval cathedrals and the courts of the Renaissance. The course attempts to understand the ideas and circumstances that formed the music, both sacred and secular. Open to any student with basic score-following skills and some musical background.

212 Music History II: Baroque and Classic Periods

J. Godwin

A survey of music history from about 1600 to 1800, the period of Monteverdi, Purcell, Handel, Bach, Mozart, and Haydn. Open to any student with basic score-following skills and some musical background. Can be taken without or before MUSI 211.

213 Music History III: The Nineteenth Century

J. Godwin

A survey of music history from Beethoven through the Romantic era, including Schubert, Chopin, Liszt, Brahms, Verdi, and Wagner. Open to any student with basic score-following skills and some musical background. Can be taken without or before MUSI 211, 212.

214 Music History IV: The Twentieth Century

Staff

A survey of music history from Debussy, Mahler, Strauss, and Stravinsky through the present. Open to any student with basic score-following skills and some musical background. Can be taken without or before MUSI 211, 212, 213.

306, 307, 308 Composer Studies

J. Godwin

These electives offer an intensive study of the works of a different composer each year. Prerequisite: any one course in the Music History sequence (MUSI 211, 212, or 213).

This course covers the work of Richard Wagner. The class listens to seven of his operas: The "Ring" cycle (Rheingold, Walkyrie, Siegfried, Götterdämmerung), Tristan and Isolde, The Mastersingers, and Parsifal. These form a basis for understanding Wagner’s achievement in music and influence in other fields.

307 Composer Studies: J.S. Bach

This course covers examples of every type of J.S. Bach’s work: organ and harpsichord music, chamber and orchestral music, cantatas, passions, and the B Minor Mass.

308 Composer Studies: W.A. Mozart

The emphasis in this course is on Mozart’s later operas, The Marriage of Figaro, Don Giovanni, Cosi fan’ tutte, and The Magic Flute, on the myths behind them, and on the way Mozart himself became a mythic figure from his death in 1791 to Amadeus.

311 The Arts in Venice during the Golden Age

J. Godwin

The Republic of Venice offers a special opportunity to study the interaction of the various fine arts that flowered simultaneously at the peak of one of Europe’s greatest cultural centers. The course examines artistic achievements of the Renaissance and early Baroque Age (ca. 1400–1700), chiefly in architecture and music. Students make frequent excursions to exemplary churches and palazzi, may attend local concerts, and learn to sing some Italian Renaissance music. Concentration credit by permission of the department. Prerequisite: admission to the Venice Study Group.

313 The Italian Opera Tradition

J. Godwin

After an introduction to the principles of music drama, the course concentrates on operas representative of all important periods of the Italian tradition. The composers include Monteverdi, Mozart, and Verdi. The remaining operas studied are determined according to what is offered in the opera houses in and around Venice during a particular season. Offered only in Venice. Prerequisite: admission to the Venice Study Group.

Course Offerings: Theory

203 Harmony I

M. Cheng, J. Godwin, J. Swain

An introduction to the central harmonic system of Western culture. Students learn to make basic chords and organize them into sensible progressions in all keys. At the same time, they learn the handling of the various melodic parts. Excerpts from a variety of Western masterworks illustrate the harmonic principles. A significant amount of class time is spent training the ears to recognize chord progressions, intervals, rhythmic patterns, and melodic patterns. This training is supported by computer-driven ear training facilities. Prerequisite: performance experience.

204 Harmony II

J. Swain

A continuation of Harmony I. The first part of the course is an intensive review of harmonic principles that develops greater fluency with them. The second part covers chromatic harmony and completes the chord grammar begun in Harmony I. The third part applies all the harmonic principles in an extensive analysis of a major composition such as a Beethoven symphony. Laboratory time devoted to ear training is required as in Harmony I. Prerequisite: MUSI 203 or permission of instructor.

207 Composition in Modern Styles

D. Morrill

An introduction to musical composition with weekly short composition projects. Both individual and class meetings are held. Composition projects involve solo instruments, the voice, small chamber ensembles, and loudspeakers. Students study the instruments that are required to perform the pieces, and learn how to prepare a musical manuscript for performance. The pieces are performed in class, whenever possible. Prerequisite: MUSI 203 or permission of instructor.

220 Digital Music Studio

D. Morrill

The course serves as an introduction to the music studio. Students learn to use all of the equipment used for digital recording and processing and basic MIDI synthesizers/processors. Readings and lectures focus on the acoustics of musical instruments and essential information about digital sound conversion. Students are assigned lab projects throughout the term. Music keyboard and computer skills are not required, but some musical experience is recommended for those who take the course.

301 Analysis

J. Swain

An introduction to four important critical and analytical theories that attempt to explain the underlying structure and effects of music that listeners experience. After a review of traditional harmonic theory, the course proceeds to Schenkerian analysis, thematic process, implication theory, and a theory of style. The principles of each are applied to compositions of Western masters ranging from Bach to Brahms with the intention of discovering the strengths and weaknesses of each approach. Prerequisite: MUSI 204.

302 Composition in Historical Styles

J. Swain

Students compose music as a way of studying, in a manner complementary to the department’s historical survey, the traditional styles of Western art music. During the term students complete a Renaissance motet, a fugue in the style of Bach, a sonata movement in the style of Mozart, and a prelude in the style of Chopin. Prerequisite: MUSI 204.

Course Offerings: Performance

217, 317 Chamber Music I, II

L. Klugherz

These performance courses are for advanced instrumentalists. The Colgate Chamber Players perform major works of the chamber music repertoire at four or five concerts during the year at various locations on campus and in the community. A yearly tour is included. Normally, two consecutive terms are required for a student to receive a single credit. Prerequisite: audition.

230, 330 University Orchestra I, II

M. Cheng

A performance course in the symphony orchestra. The orchestra rehearses and performs outstanding works of the symphonic literature. Students must be continuing members of the organization, as certified by the director. Normally two consecutive terms are required in order to receive a single credit. Prerequisite: audition.

232 Jazz Performance

D. Pugh, R. Montalbano

This performance course in small combo jazz emphasizes solo improvisation. The One-Thirty Band rehearses Tuesday and Thursday at 1:30. Students are expected to have some performance experience, and two consecutive terms are required for a single credit. Prerequisite: audition.

234, 334 University Chorus I, II

R. Kolb

A performance course in choral music. The chorus rehearses and performs works from the repertoire, both a capella and with accompaniment. Students must be continuing members of the organization, as certified by the director. Normally two consecutive terms are required in order to receive a single credit. Prerequisite: audition.

236, 336 Private Instruction I, II

Staff

Credit for private study in voice or musical instruments is offered to advanced students, who must be continuing pupils of an instrumental or vocal instructor, with a minimum of one prior term of private study at Colgate. The course consists of one-hour lessons each week during the term and may include a public performance. An application to the department chair must be completed and approved during the term prior to enrollment.

318 The Art of Conducting and Advanced Musicianship

M. Cheng

A study of the techniques of conducting. Works from the choral literature are conducted and studied, with historical background, analysis, ear training, and interpretation of scores. Prerequisite: permission of instructor.

291, 391, 491 Independent Study

Staff

These courses offer students opportunities for individual study in musical areas not covered by the other course offerings, under the guidance of a member of the staff. Prerequisite: permission of instructor and department chair.

470 Senior Seminar

Staff

Given on an independent studies basis, this course is the requirement for honors or high honors in music. Taken in the senior year, the independent study may be in whatever the student and faculty adviser regard as the student’s major musical strength.