68. Transitions in American Popular Music. Mr. Rockwell. Examines the changing soundscape of popular music genres in the U.S. Includes topics such as the urbanization of blues, the development of Nashville country, the cooption of funk music by rap, the move from guitar rap to grunge and the digitization of pop. Fall 2007.

70. Ethnomusicology in Theory, Method and Practice. Ms. Hagedorn. Examines ethnomusicology as a changing and vital discipline. Weekly focus on different case studies to highlight particular issues, including defining ethnomusicology and its practitioners; changing ideologies of the field and fieldwork; feminist approaches to ethnomusicology; performance of healing; and notion of authenticity. Course includes fieldwork, performance, musical ethnography and field trips. Each spring.

72. Gendering Performance. Ms. Hagedorn. How are issues of gender manifested and constructed through performance, and how do we perceive these issues, as performers and as an audience? Weekly units focus on such topics as the Argentine tango, bluegrass music, Afro-Cuban drumming, Javanese pesindhen performance, the blues, MTV and transvestite cabaret performance. Spring 2008.

73. Music, Gender and Ritual in Latin America. Ms. Hagedorn. Survey of Latin American performance traditions, examined through the interpretive frameworks of ritual and gender with an emphasis on critical analysis of the quincentenary commemoration. Weekly units focus on such topics as Andean panpipe music, Brazilian candomblé, Argentinean tango, Mexican flamenco and the Venezuelan Festival of St. John. No prerequisites, but a background in music or social sciences is recommended. Next offered 2008-09.

74. Music on the Margins: Roma Performance in Europe. Ms. Hagedorn. Roma is the indigenous name for “gypsies,” itinerant laborers and musicians. We will examine Roma performance in Hungary, Spain and France, and explore how Roma performance responds to local circumstances, from outright persecution (Hungary) to focused discrimination (Spain), to distanced exoticization (France). Next offered in 2008-09.

75. Opera. Staff. Examines the development of opera as a formal synthesis of musical and dramatic expression. Focuses on the evolving relationship between musical and dramatic elements, and on opera’s role within a broader cultural context. Evening opera video laboratory meets approximately every other week. No previous musical experience required. Next offered 2008-09.

76. Performing the Sacred: Toward a Theology of Sound. Ms. Hagedorn. This course explores how musical sound and other related performative phenomena are perceived and employed across a variety of religious practices—as sonic representations of the divine, as mystical evocations and as facilitators for ecstatic experience. Fall 2007.

120A,B. History of Western Music. Mr. Beeks, Mr. Peterson. Study of Western music from Middle Ages to the 20th century, with reference to influence, stylistic development, reception history, performance practice, history of instruments and relevant theoretical writings. Readings, listening, discussion, oral presentations, class performance and analytical projects. Prerequisite for 120A: 80. Prerequisite for 120B: 120A and 80, 81 strongly recommended. 120A, each fall; 120B, each spring.

All courses numbered 152-179 require written permission of instructor for enrollment.

152. Musical and Cultural Currents in Paris, 1870–1930. Mr. Peterson. Same course as 52, but with additional papers and/or projects required. Next offered 2008-09.

154. Nationalism and Music. Mr. Peterson. Same course as 54, but with additional papers and/or projects required. Next offered 2008-09; offered alternate years.

158. Beethoven. Ms. Di Grazia. Same course as 58, but with additional papers or projects required. Fall 2008; offered alternate years.

159. Brahms, Berlioz, and Wagner. Ms. Di Grazia. Same course as 59, but with additional papers or projects required. Fall 2009; offered alternate years.

161. Musical Theatre in America. Mr. Bailey. Same course as 61, but with additional papers and/or projects required. Fall 2007; offered alternate years.

162. Idea of American Music, 1925-1950. Mr. Cramer. Examination of societal forces bearing on the concept of “American Music” and of various musical traditions that vied to represent America, including European-style and modernist/populist concert music, blues, jazz, music of Broadway, film music and folk music. Prerequisite: at least two courses from the fields of music, American history, 20th-century American art or 20thcentury American literature. Next offered 2008-09; offered alternate years.

164. Johann Sebastian Bach. Mr. Peterson. Same course as 64, but with additional papers and/or projects required. Spring 2008; offered alternate years.

172. Gendering Performance. Ms. Hagedorn. Same course as 72, but with additional papers and/or projects required. Spring 2008.

173. Music, Gender, and Ritual in Latin America. Ms. Hagedorn. Same course as 73, but with additional papers and/or projects required. Next offered 2008-09.

174. Music on the Margins: Roma Performance in Europe. Ms. Hagedorn. Same course as 74, but with additional papers and/or projects required. Next offered 2008-09.

176. Performing the Sacred: Toward a Theology of Sound. Ms. Hagedorn. Same course as 76, but with additional papers and/or projects required. Fall 2007.

180. Advanced Topics in Music History. Staff. Detailed study of representative works by selected major composers, using the critical and analytical techniques developed in prerequisite courses, with special emphasis on influences, stylistic development and reception history. Prerequisite: 120B. May be repeated once for credit with different content. Next offered 2008-09.

181. Advanced Topics in Ethnomusicology. Ms. Hagedorn. Opportunity to pursue more specialized or focused topics in ethnomusicology. Extensive reading and writing required; course will run either as a small seminar or an independent study. Prerequisite: MUS 70. May be repeated for credit with different content. Next offered 2008-09.

184. 20th-Century Music History and Theory. Mr. Flaherty. Twentieth-century musical techniques and their historical contexts. Prerequisite: 82 and 120B. Each fall.

Theory of Music
4. Materials of Music. Mr. Lindholm, Mr. Rockwell. Thorough elementary understanding of the materials of music—harmony, melody and rhythm—and facility in reading and notating music. Discussion from historical and theoretical viewpoints of the factors that enter into the musical experience. Laboratory assignments using computer-assisted instruction. No previous musical experience required. Each semester.

Note: 80, 81, 82 constitute a three-semester sequence. Music writing and analysis, exploring properties of compositional materials: melody, rhythm, meter, harmony, timbre, texture and their relation to formal structure. Focuses on the Western tradition. Music chosen from a broad historical and cultural spectrum. Theory courses are supplemented by two musicianship labs per week.

80. Music Theory I. Mr. Rockwell, Mr. Flaherty. Two-part counterpoint, four-part writing, using root position and inverted triads, dominant seventh chords. Small forms. Each semester.

81. Music Theory II. Mr. Cramer. Diatonic and chromatic harmony, in four parts and freer styles, using all seventh and ninth chords. Sonata and related forms. Prerequisite: 80. Each fall.

82. Music Theory III. Mr. Rockwell. Late 19th-century harmonic techniques, contrapuntal styles. Prerequisite: 81. Each spring.

86. Music in Theory and Practice. Mr. Cramer. A comprehensive and integrated view of music as a field of study. Intensive analysis of concepts involved in the study and practice of Western and non-Western music. Emphasis on current approaches in music history, ethnomusicology and music theory. Critical writing, aural and analytical skills. Some composition. Prerequisite: 4 or 80. Each spring.

87. Jazz Improvisation: Theory and Practice. Mr. Bradford. Techniques applicable in jazz and much of today’s popular music. Written assignments, tests, analysis of master works and performance in the classroom. Ability to read music and advanced instrumental skills required. Audition required. Spring 2008; offered alternate years.

113. Orchestration and Instrumentation. Mr. Lindholm. Instruments of the orchestra, their historical development and current capabilities. Notation and performance practice. Analysis of selected works since 1700 and exercises in scoring and arranging for orchestra and chamber ensembles to develop historical understanding, imagination and practical skill. Prerequisite: 82. Next offered 2008-09.

118. Composition. Mr. Flaherty. Advanced studies in the elements of contemporary techniques and original work intended to develop the student’s sense of structure and style. Prerequisite: 184. May be repeated once for credit. Next offered 2008-09.

149. Music Perception and Cognition. Mr. Cramer. Perceptual and cognitive processes involved in the hearing of music. Emphasis on structural aspects of music that may be understood in terms of cognition. Topics include the perceptual organization of pitch, rhythm and other features; melody, harmony, phrasing and form; music’s relatedness to language; musical meaning and affect. Prerequisite: One course in MUS or LGCS. Spring 2008.

184. 20th-Century Music History and Theory. Mr. Flaherty. Twentieth-century musical techniques and their historical contexts. Prerequisites: 82 and 120B. Each fall.

185. Advanced Topics in Theory. Staff. Detailed and intensive study, by practice and analysis, of counterpoint, form and analysis, rhythm and 20th-century techniques. Prerequisite: 82. May be repeated for credit with different content. Next offered 2008-09.

Performance of Music: Individual and Class Instruction
Students may enroll for instrumental or vocal study in the Music Department. Lessons may be terminated by the instructor, after fair warning, for unsatisfactory preparation or attendance. When lessons must be missed, students should notify the department secretary as far in advance as possible. Students studying privately are expected to participate regularly in the appropriate performing organizations to the full extent of their ability.

Credit with letter-grades is granted for courses in private music instruction. For weekly half-hour lessons (10 and 20), one-quarter (cumulative) course credit is earned. (Grades earned in cumulative-credit music courses are not calculated in the student’s grade point average.) Students at Level I (10) are normally limited to a maximum of four semesters of credit. In order to take Level II lessons, students must pass a qualifying examination. Weekly hour lessons at Level II (100) earn a half-course credit per semester. All enrollment for private music instruction must be made with the Music Department secretary during the regular enrollment and pre-enrollment periods. (Students planning to take a qualifying examination must consult with the department secretary concerning the requirements.)

If a student chooses to fulfill the Area 1 Breadth of Study Requirements through performance courses, one course credit (four cumulative courses, two half-courses, etc.) must be earned by enrolling either in applied music lessons (individual instruction) or ensemble courses, all of which must be sponsored by the Department of Music. For students satisfying the requirement through individual instruction, any combination of 10, 20 or 100 adding up to one credit fulfills the Area I requirement, provided that the lessons are all on the same instrument. Enrollment in ensembles or lessons must be in consecutive semesters.

10. Individual Instruction, Level I. Staff. Half-hour lesson weekly. Cumulative credit. Each semester.

20, 100. Individual Instruction, Level II. Staff. Initial enrollment is dependent upon successful completion of a qualifying examination. 20: half-hour lesson weekly, cumulative credit, each semester; 100: hour lesson weekly, half-course, each semester. Satisfactory grades required for continued study. More information is available from the Music Department secretary.

87. Jazz Improvisation: Theory and Practice. Mr. Bradford. Techniques applicable in jazz and much of today’s popular music. Written assignments, tests, analysis of master works and performance in the classroom. Ability to read music and advanced instrumental skills required. Audition required. Spring 2008; offered alternate years.

117. Conducting. Mr. Lindholm. Introduction to the skills of baton technique, score reading and projecting musical impulse through gesture and body language. Particular attention paid to developing an aural image of the score and addressing the ensemble appropriately. Prerequisite: 81. Half-course. Next offered 2008-09.

183. Advanced Topics in Performance. Ms. Lee. Refinement of techniques of musical interpretation, style and presentation, integrated with theoretical and historical studies. Prerequisites: 20 or 100 and 81. Half-course. Spring 2008.

Performance of Music: Ensembles
The performing ensembles sponsored by the Music Department are open to all qualified students of The Claremont Colleges. Credit may be granted for regular attendance and participation in each ensemble. To obtain credit, students must enroll during the regular enrollment or pre-enrollment periods. Auditions are normally held during the opening weeks of each academic year. Each ensemble may be taken for credit no more than four times (for the equivalent of two course credits); however, the course will appear on the transcript for each semester in which it is taken.

31. Pomona College Choir. Staff, Ms. Di Grazia. A large chorus which draws its membership from the College and the community. Rehearses two evenings a week and generally presents two concerts a year of major choral works. Audition required. Half-course. P/NC grading only. Each semester.

32. Pomona College Glee Club. Ms. Di Grazia. The Glee Club, a chamber choir of 20–30 members, performs classical music from many historical periods and styles. Concurrent membership in the College Choir throughout the academic year required (except for students who spend their fall semester on study abroad or on official leave from the colleges). Audition required. Half-course. P/NC grading only. Each spring.

33. Pomona College Orchestra. Mr. Lindholm. Performance of major works of the orchestral repertoire and training in orchestral techniques. Enrollment by audition. Half-course. P/NC grading only. Each semester.

35. Pomona College Band. Mr. Beeks, Mr. Klein. Rehearsal and performance of original compositions and arrangements for concert band. Two rehearsals per week. Half-course. P/NC grading only. Each semester.

36. Fighting Sagehen Band. Mr. Beeks. Small non-marching ensemble provides musical entertainment at varsity games and other functions. Non-credit. Each fall.

37. Jazz Ensemble. Mr. Bradford. Rehearsal and public performance with opportunity for original work. Enrollment by audition. Half-course. P/NC grading only. Each semester.

39. Gospel Choir. Staff. A choral ensemble devoted to African American sacred music traditions of the 20th century. Half-course. P/NC grading only. Next offered 2008-09.

40. Chamber Music. Staff. Program for vocal and instrumental students who participate in small ensembles under the direction of a faculty coach. Students typically form ensembles before enrolling. The department will ensure that an appropriate coach is assigned. Weekly rehearsals and at least one performance required. Half-course. (May not be taken more than once per semester, regardless of participation.) P/NC grading only. Each semester.

41. Balinese Gamelan Ensemble. Mr. Wenten. Introduction to the Balinese gong kebyar gamelan ensemble and its related performance traditions. As is customary in Bali, students learn to play nearly all the instruments in the ensemble. Attendance is mandatory. Performance emphasized, with some guided listening. No musical experience required. Half-course. P/NC grading only. Each semester.

42A-Z. Ensembles in Residence. Staff. Introduction to non-Western ensemble performance. Ensemble changes each year; ensembles include Flamenco guitar and percussion, North Indian tabla, and West African drumming and dance. Linked with offerings of Dance department. Weekly rehearsals culminate in end-of-semester performance. Attendance is mandatory. Year-long participation recommended. Some musical background preferred. Permission of instructor is required. P/NC grading only. Half-course.

42D. Hindustani Music Ensemble. Mr. Trasoff, Mr. Kaushal. Students will learn basic performance techniques for sarod, sitar, harmonium, tabla and vocal expression. Half-course. Each semester.

Special Topics
Physics 3. The Physics of Music. Ms. Zook. Next offered 2008-09.

90. Luthier Arts Workshop. Mr. Sanders. Focus on building either 6-course Renaissance vihuelas (Spanish guitars) or 5-course Baroque guitars, which after completion will become property of the students who build them. Historical instrument construction and tool usage will be studied. Permission of instructor required. Next offered 2008-09.

96A,B. Electronic Music Studio. Mr. Flaherty. Laboratory course designed to develop electronic compositions using techniques of analog and digital synthesis. Permission of instructor required. 96B may be repeated once for credit. 96A, each fall; 96B, each spring.

190. Senior Seminar. Mr. Peterson. Directed study for majors in who are completing the senior exercise (expanded description available in Music Department main office). A seminar for review and discussion of major topics in music theory, history, performance and ethnomusicology, culminating in a paper. Required of senior majors. Each fall.

191. Senior Thesis. Staff. Required for the History concentration and written under faculty guidance in the senior year. Each semester.

192. Senior Project. Staff. Half- or full course, depending on concentration. Prepared under faculty guidance. 1) Half-course: senior recital; required for Performance concentration. 2) Full course: senior composition; required for Composition concentration. 3) Full course: senior research project; required for Ethnomusicology or Special Research concentration. Each semester.

99/199. Reading and Research. Staff. Self-directed study of advanced topics under faculty guidance. Open to sophomores, juniors and seniors whose written project proposals have been submitted to the department chair at least one week prior to pre-enrollment and have been approved by the Music Department. Prerequisite: permission of instructor. 99, lower-level; 199, advanced work. Course or half-course. May be repeated. Each semester. (Summer Reading and Research taken as 98/198.)