Music

The material on this page is from the 1995-96 catalog and may be out of date. Please check the current year's catalog for current information.

Professors Scott, Chair, Anderson, and Matthews; Associate Professors Parakilas (on leave, 1995-1996) and Hunter; Mr. Glazer and Ms. Williams

The offerings in music provide a general knowledge and appreciation of music's contribution to the liberal-arts tradition. Courses cover both the theory and history of music and include a number of offerings appropriate for both the general student and music major. The Department also sponsors several performing organizations: the College Choir, the Chamber Singers, the Chamber Orchestra, the Jazz Band, and small chamber ensembles such as string quartets, woodwind quintets, and brass quintet.

Students majoring in music are required to take the following courses: 1) Music 271a and b; 2) Music 231-232 and 331-332 (music theory); 3) two courses in the history and literature of music, to be selected from Music 241, 242, 243, 244, 245, 246, 247 (history), Music 252, 253, 254 (genre), Music 265 (individual composers); 4) Music 399 (Junior-Senior Seminar); 5) Music s28 (survey of Western music); and 6) Music 458 (senior project). In addition, students are required to pass a comprehensive examination in the theory and history of music and demonstrate proficiency in basic keyboard skills. Honors candidates also register for Music 457.

Remaining requirements are designed to suit the special needs of performers, composers, and those who wish to concentrate on music history or theory. Performers take one additional year of Music 271 (lessons) and participate in both a large and a small music ensemble for two years. Composers take Music 235 (composition) and either Music 237 or an independent study in composition. History and theory students take two additional history, genre, or composer courses of their choice. All music majors participate yearly in one of the large ensembles.

A reading knowledge of German or French is recommended for students planning graduate work in music.

Some private instruction in music is available for all students. Instruction is normally offered in voice (Ms. Judith Cornell, Mr. John Corrie), harpsichord (Mr. Marion R. Anderson), piano (Mrs. Natasha Chances, Mr. John Corrie), jazz piano (Mr. Stephen Grover), organ (Mr. Marion R. Anderson), violin (Mr. Stephen Keckskemethy), viola (Ms. Julia Adams), violoncello (Ms. Kathleen Foster), double bass (Mr. George Rubino), oboe (Mr. Neil Boyer, Ms. Michelle Vigneau), bassoon (Ms. Ardith Freeman), flute (Ms. Lee Humphreys), clarinet (Ms. Carol Furman), trumpet (Mr. John Furman), trombone (Mr. Mark Manduca), French horn (Mr. Scott Burditt), saxophone (Mr. Richard Gordon), classical guitar (Mr. Kenneth Labrecque), harp (Ms. Jara Goodrich), recorder (Mr. Kerry Byrne), and percussion (Mr. Stephen Grover). Instruction may also be offered in other instruments if there is sufficient demand. Students who enroll in Music 271 receive one course credit upon completion of two consecutive semesters of lessons. The same credit arrangement applies to Music 272.

Courses
101. Introduction to Listening. Reading and listening assignments, demonstrations, and class discussion provide opportunity to become familiar with the structure of music. The elements of music and the sociology of music-making are studied, using repertoire from various cultures and historical periods. Emphasis is placed on the student's perception of and involvement in the musical work. The course is open to, and directed toward, students unskilled in reading music as well as those with considerable musical experience. [Staff].

102. Composers, Performers, and Audiences. Designed for students with little or no previous experience of the subject, this course considers the ways composers, performers, and audiences have affected one another in the history of Western music making. What were the employment conditions for composers? What is the relation between the composer and the performer? What sorts of audiences have different composers addressed, and how? The lives of a small number of composers, including Hildegard von Bingen, Johann Sebastian Bach, Ludwig van Beethoven, Clara Schumann, and Duke Ellington serve as case studies as we address these questions, and basic musical vocabulary is introduced both at the beginning of the course and along the way. Ms. Hunter. W

231-232. Music Theory I. Beginning with a study of notation, scales, intervals, and rhythm, the course proceeds through composition and analysis of melodic forms, a study of harmonic motion, an introduction to the principles of counterpoint, and the analysis and composition of complete works from several popular and classical styles. The course includes practical ear-training and keyboard work. Regularly scheduled laboratory sessions. Prerequisite: a reading knowledge of music. Open to first-year students. Mr. Anderson, Ms. Scott. F W

235. Music Composition. Composition may be pursued by students at various levels of expertise and training. The course includes a weekly seminar and private lessons, and concentrates upon--without being limited to--contemporary idioms. Prerequisites: some experience with music and permission of the instructor. Open to first-year students. [Mr. Matthews].

237. Computers, Music, and the Arts. A hands-on study of music-making with computers, using the facilities of the Bates Computer Music Studio. Topics include digital synthesis, sampling, MIDI communications, simple programming, and the aesthetics of art made with computers. No computing experience is presumed, and the course is especially designed for students in the arts who wish to learn about new tools. Work produced in the course is performed in concert. Enrollment is limited to 18. Mr. Matthews. F

241. Music Literature of the Medieval and Renaissance Periods. A survey of music up to ca. 1600, beginning with an examination of sacred and secular monophony, and continuing with the emergence of polyphony in the twelfth and thirteenth centuries and its development in such forms as chanson, madrigal, mass, and motet to the end of the sixteenth century. Emphasis on works by such composers as Dunstable, Dufay, Josquin, and Palestrina. Prerequisite: Music 101, 102, or 231 or permission of the instructor. Open to first-year students. [Ms. Scott].

242. Music Literature of the Baroque Period. A study of the early composers of the period as well as the two giants at its close: George Frederick Handel and Johann Sebastian Bach. Prerequisite: Music 101, 102, or 231 or permission of the instructor. Open to first-year students. Mr. Anderson. F

243. Music Literature of the Classic Period. Beginning with the music of such preclassic composers as the sons of J. S. Bach, Stamitz, and D. Scarlatti, the study moves to works of Haydn, Mozart, and early Beethoven. Analysis of form and harmony. Prerequisite: Music 101, 102, or 231 or permission of the instructor. Open to first-year students. [Ms. Hunter].

244. Music Literature of the Romantic Period. A study of nineteenth-century piano music, song, orchestral music, and opera, concentrating on the Chopin Preludes, Schubert songs, a Brahms symphony, and Bizet's Carmen. Prerequisite: Music 101, 102, or 231 or permission of the instructor. Open to first-year students. [Mr. Parakilas].

245. Music Literature of the Twentieth Century. From Debussy and the expressionistic compositions of Schönberg through the development of twelve-tone techniques. Prerequisite: Music 101, 102, or 231 or permission of the instructor. Open to first-year students. [Mr. Anderson].

246. American Music: Imaginary Landscapes. Composers as stylistically diverse as Aaron Copland, Duke Ellington, Morton Feldman, Meredith Monk, and Frank Zappa have drawn on a range of influences to create music which in different ways reflects the physical, spiritual, and cultural landscape of America in the twentieth century. Works by these and other composers will be studied. Open to first-year students. Mr. Matthews. W

247. Jazz and Blues: History and Practice. American jazz and blues offer two rich traditions through which one can study music, race, and American history. Through extensive listening, reading assignments, and interaction with musicians themselves, students study the recorded history and contemporary practice of jazz and blues. Open to first-year students. Not open to students who have received credit for Music s26. Enrollment is limited to 96. [Mr. Matthews].

252. The Concerto. The development of the concerto from its origins in the seventeenth century to the twentieth century. Consideration of the historical context is combined with close analysis of several works. Prerequisite: Music 101, 102, or 231 or permission of the instructor. Open to first-year students. [Ms. Scott, Mr. Glazer].

253. The Symphony. A survey of the symphony, tracing its development from the eighteenth century to the present. Emphasis is on analysis of individual works and examination of their relation to the historical context. Prerequisite: Music 101 or 102, or 231, or written permission of the instructor. Open to first-year students. Ms. Scott. W

254. Music and Drama. How do music and drama go together, and how are the possible relationships between them exploited in different media? This course is a study of dramas which use music, principally operas. Works are heard and seen on records and videocassettes, and the class may attend an opera performance in Boston or Portland. Gender issues pertaining to all phases of opera are discussed throughout the course. Music 254 is cross-listed as a component course in Women's Studies. Term projects may include productions and performances of music-theatrical works or excerpts. Prerequisite: Music 101, 102, 231, or any course in theater or dance, or written permission of the instructor. Open to first-year students. [Ms. Hunter].

260. Women and Music. Through a concentration on American women musicians of the twentieth century (including, but not limited to, Laurie Anderson, Amy Beach, Aretha Franklin, Billie Holiday, Bessie Smith, and Joan Tower), this course addresses the variety of contributions that women make to music and considers how feminist aesthetics relate to music. Recommended background: basic ability to read music and some capacity to use musical vocabulary, or one or more women's studies courses. Open to first-year students. Ms. Hunter. W

265. Great Composers. A study of the works of one composer, such as Bach, Mozart, Beethoven, Brahms, or Stravinsky. Prerequisites: Music 101, 102, 231, or permission of the instructor. Open to first-year students. Topic for 1995-1996: Beethoven. Ms. Scott. F

271-272. Applied Music I. An exploration of the literature for voice or solo instruments through weekly private instruction. Problems of performance practice, style, and form are emphasized equally with the building of technique. One course credit is granted upon completion of two consecutive semesters of lessons. Permission of the Department Chair is required. Corequisite: one additional course in music to be taken during the year in which Music 271-272 is taken for credit. Students enrolled in this course are expected to participate in a College-sponsored musical organization. A special fee is charged for this course. Open to first-year students. Staff.

273-274. Applied Music II. A continuation of Music 271-272. An exploration of the literature for voice or solo instruments through weekly private instruction. Problems of performance practice, style, and form are emphasized equally with the building of technique. One course credit is granted upon completion of two consecutive semesters of lessons. Permission of the Department Chair is required. Corequisite: one additional course in music to be taken during the year in which Music 273-274 is taken for credit. Students enrolled in this course are expected to participate in a College-sponsored musical organization. A special fee is charged for this course. Open to first-year students. Staff.

275-276. Applied Music III. A continuation of Music 273-274, intended for students who have demonstrated a high degree of technical proficiency and commitment to the discipline of performance. Public performance will be required of each student enrolled in this course. One credit is granted upon completion of two consecutive semesters of lessons. Prerequisites: permission of the Department Chair, upon recommendation from the Applied Music instructor, and one additional course in music to be taken in the year in which Music 275-276 is taken for credit. Students enrolled in this course are expected to participate in a College-sponsored musical organization. A special fee is charged for this course. Staff.

277-278. Applied Music IV. A continuation of Music 275-276, intended for students who have demonstrated a high degree of technical proficiency and commitment to the discipline of performance. Public performance will be required of each student enrolled in this course. One credit is granted upon completion of two consecutive semesters of lessons. Prerequisites: permission of the Department Chair, upon recommendation from the Applied Music instructor, and one additional course in music to be taken in the year in which Music 277-278 is taken for credit. Students enrolled in this course are expected to participate in a College-sponsored musical organization. A special fee is charged for this course. Staff.

331-332. Music Theory II. A continuation of Music 231-232 emphasizing chromatic harmony, four-voice textures, tonal sonata forms, Schenkerian analysis, and the non-tonal styles of the twentieth century. Students compose music in several forms and styles, and continue practical ear-training and keyboard work. Regularly scheduled laboratory sessions. Prerequisite: Music 232. Mr. Matthews, Mr. Anderson. F W

334. Counterpoint. A study of the contrapuntal practice of composers of the sixteenth and twentieth centuries through written exercises and analysis. Prerequisite: Music 232. [Ms. Scott].

360. Independent Study. Independent study of individually selected topics. Periodic papers and conferences are required. May be taken more than once for credit. Permission of the Department is required. Staff.

365. Special Topics. A course or seminar offered from time to time and reserved for a special topic selected by the Department. May be taken more than once for credit. [Staff].

399e. Junior-Senior Seminar in Analysis. Intensive analytical study for advanced students. Students either consider a single compositional or theoretical principle (e.g., sonata form, Schenker's theory) across a variety of musical styles or approach a smaller range of music with various analytic techniques. The particular topic varies from year to year according to the needs and interests of students and teacher. Prerequisite: Music 332 or permission of the instructor. Staff. W

457, 458. Senior Thesis. An independent study program culminating in: (a) the writing of an essay on an aspect of music history or theory; (b) an original composition accompanied by an essay on the work; or (c) a recital accompanied by an essay devoted to analysis of works included in the recital. All senior majors are required to take 458; honors candidates must also take 457. Staff.

Short-Term Units
s21. Film Music. While usually "unheard," the musical background of a film nevertheless performs an important role in establishing mood and character, enhancing the emotional impact of a scene, providing through association a geographical and historical context, revealing underlying psychological states that contradict or counterpoint the diegetic discourse exhibited on the screen, and creating structural continuity. This unit surveys the function of the motion-picture soundtrack from the days of silent film to the present. Open to first-year students. [Ms. Scott].

s22. Analysis and Interpretation. In order to perform intelligently, the performer must form his or her decisions on phrasing, tempo, dynamics, and articulation through a thorough understanding of the individual work. The unit involves structural analysis of selected works, examination of the stylistic contexts to which they belong, historical study of the appropriate performance practices, and consideration of various more general performance issues. The unit culminates in a performance based on this study. An ability to perform and permission of the instructor are required. Limited enrollment. Mr. Anderson.

s26. Jazz: History and Practice. This unit begins with several weeks of lectures and discussions on the history of jazz from both sociological and musical viewpoints and ends with a visit to New York City, during which the class attends concerts and talks to musicians and critics. Both performers and nonperformers may take the unit, and no previous experience is required. Enrollment is limited to 25. [Mr. Matthews].

s28. Survey of Western Music. A survey of Western music from ca. A.D. 1000 to the present. Compositions are studied chronologically and within their cultural context. Extensive listening assignments provide material for daily class lectures and discussion. Required of all majors. Open to first-year students. Ms. Scott.

s29. American Musicals on Film. From The Jazz Singer of 1927 to Purple Rain of 1984, American musicals on film have been remarkably reflexive: "show business about show business." On closer analysis, they provide us with fascinating clues about American popular taste and our culture in general. The unit examines twenty-three films and includes the videotaping of a class production. Limited enrollment. [Mr. Matthews].

s50. Individual Research. Registration in this unit may be granted by the Department only after the student has submitted a written proposal for a full-time research project to be completed during the Short Term and has secured the sponsorship of a member of the Department who agrees to direct the study and evaluate the results. Staff.