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History and Appreciation of Music
52. Musical and Cultural Currents
in Paris, 1870–1930. Mr. Peterson. A study of music
in Paris within its cultural context. Examination of works
by Debussy
and Ravel, as well as other notable composers (including Fauré, Satie, Milhaud, Poulenc and Lili
Boulanger). Consideration of Impressionism, Symbolism,
musical life in the shadow of World War I and the
formulation of post-war neo-classicism. Spring 2009; offered
alternate years.
53. The Symphony and Related Forms.
Mr. Lindholm. An examination of the development of the
symphony as a genre, from approximately 1750 to the present.
Emphasis on changes in style and scope, degree of emotional
impact, issues of orchestration and structural procedures.
Also focuses on the symphony as a
cultural phenomenon, including its role in the concert hall
and the concept of a repertory. Ability to read music highly
recommended. To be announced.
54. Nationalism and Music.
Mr. Peterson. Study of nationalism in music from 1830s to
1930s through examination of representative composers and
their works
(including Liszt, Verdi, Smetana, Dvorak, Moussorgsky,
Sibelius and Ives), and different ways in which
socio-political groups or their leaders have discerned
“nationalistic” meaning in music, whether in revolution, in
war or in totalitarian systems (e.g., National Socialists’
administration of German musical life in 1930s).
Fall 2008; offered alternate years.
55. Seven Musical Wonders of the Western World.
Ms. Lee. Historical, analytical, and aural study of
seven major works from the Western European and American
concert tradition. Genres include symphony, opera, solo and
chamber, vocal and instrumental music. Some field trips. No
previous musical experience required. Spring 2009.
56. Words and Music: History of
Black Song. Ms. Lytle. Study of the development of
the solo song in Western art music. Students will learn how
to analyze texts and compositional techniques. Examines the
works of selected African-American composers. The ability to
read music would be helpful, but it is not required. Spring
2010; offered alternate years.
57. A Survey of Western Music.
Mr. Peterson. Historical survey of Western art
music from chant to recent compositions. Study of selected
works by
Bach, Mozart, Beethoven, Wagner, Stravinsky, Adams and
others that illustrate significant stylistic and historical
developments. This course enriches the student’s experience
of music by emphasizing the refinement of listening skills.
Lecture, discussion, guided listening, musical
score-reading; listening assignments, writing assignments
and selected readings. Each fall.
58. Beethoven. Ms. Di
Grazia. An examination of Beethoven’s life and creative
output. Works from Beethoven’s entire career (including
symphonies, concertos,
sonatas, chamber music and vocal music) will be studied in
the context of the political and social milieu of his time.
Discussions will include music by Mozart
and Haydn, from which Beethoven drew considerable
inspiration, and works by later 19th-century masters, whose
music owes a significant debt to Beethoven’s
genius. Listening, lecture, reading and discussion. Fall
2008; offered alternate years.
60. History of Jazz. Mr.
Bradford. History of jazz from its roots in blues and
ragtime through New Orleans jazz, Dixieland, bebop, cool
jazz, free jazz and
contemporary styles. Emphasis on innovators, characteristics
of style, and jazz as a reflection of the Black perspective.
Each fall and alternate springs; offered Spring 2009.
61. Musical Theatre in America.
Mr. Bailey. Survey of the development of musical theatre in
20th-century America through the study of selected musical
works involving theatre, dance and mixed media. Previous
musical experience not required but helpful. Fall 2008;
offered alternate years.
62. Survey of American Music.
Ms. Lytle. Introduction to the contributions that specific
ethnic cultures have made to the diverse fabric of American music. Examines two ethnic populations and the elements which make
up the musical life of each group. Lectures, guest
presentations and concerts. Spring 2009; offered alternate
years.
64. Johann Sebastian Bach.
Mr. Peterson. Study of J.S. Bach and of his instrumental and
vocal music. Emphasis will be placed on the Brandenburg
Concertos, the Mass in B Minor and on Bach’s keyboard works.
Examination of performance issues, with emphasis on the
keyboard instruments he knew (notably
harpsichords and organs). Discussion of the critique made of
Bach’s music by composers, performers and historians in the
years since the composer’s death.
Spring 2010; offered alternate years.
65. Introduction to World Music.
Ms. Hagedorn. Functional approach to studying the diversity
of musical traditions. Focuses on the function and context
of
performance in geographically representative samples.
Examines such issues as gender, religion, politics and
ethnicity through the lens of specific performance
traditions. Each fall.
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 2009; offered alternate years.
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 performance, proposal for musical ethnography and
guest lecturers. 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 rap, taiko, salsa, and performance
art. Spring 2010.
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. Fall 2010.
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).
Spring 2011.
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. To be announced.
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 2009.
78. Performance Traditions of the African Diaspora:
Shango in the New World. Ms. Hagedorn.
Introduction to the vast legacy of the African diaspora,
approached through its performance traditions. Comparison of
West African performance contexts and aesthetics with those
of the Caribbean, Black America, and Afro-Latin America.
Prerequisite: written permission of the instructor. A
background in music or social sciences is recommended. Not
open to first-year students. Fall 2008.
91. Sites of Sound: Music, Technology, Aural
Culture, Film. Mr. Cramer. A study of the
position of sound and music on the boundary between media
and context of media. Topics include theories of sound in
culture; historical conceptualizations and experiences of
sound in early modern Europe and other sites; sound and
music in the context of 19th-century representational
technologies from tableaux vivants, stenography and opera to
telephone and phonograph; and film soundtracks. Spring 2009;
offered alternate years.
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.
Spring 2009.
154. Nationalism and Music.
Mr. Peterson. Same course as 54, but with additional papers
and/or projects required. Fall 2008; offered
alternate years.
158. Beethoven. Ms. Di
Grazia. Same course as 58, but with additional papers or
projects required. Fall 2008; offered alternate years.
161. Musical Theatre in America.
Mr. Bailey. Same course as 61, but with additional papers
and/or projects required. Fall 2008; offered alternate
years.
164. Johann Sebastian Bach. Mr. Peterson. Same course as 64, but with additional papers
and/or projects required. Spring 2010; offered alternate
years.
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. To be announced.
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. To be announced.
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.
Ms. Hagedorn. 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. To be announced.
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. To be announced.
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 2010;
offered alternate years.
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. To be announced.
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 2010;
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. To be announced.
183. Advanced Topics in Performance.
Mr. Flaherty. Refinement of techniques of musical interpretation,
style and presentation, integrated with theoretical and
historical studies. Prerequisites: 20 or 100 and 81.
Repeatable for credit.
Half-course. Spring 2009.
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.
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, Staff. 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. Rehearsal and performance of original
compositions and arrangements for concert band. Two
rehearsals per week. Half-course. P/NC grading only. Each
semester.
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.
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. 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. Each semester.
42A. Flamenco Guitar and Percussion.
Staff.
To be announced.
42B. Afro-Cuban Music
Ensemble.
Mr.
Addington. Fall 2008/ Spring 2009.
42C. West African
Drumming Ensemble.
Staff.
To be announced.
42D. Hindustani Music Ensemble. Staff. To be
announced.
42E. Balkan Music Ensemble. Staff. To be
announced.
Special Topics
PHYS 3. The Physics of
Music. Ms. Zook. Every fall.
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. To be announced.
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. Cramer. 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.) |
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