Music Courses
MUSC 101: Perspectives on Music
An introduction to various facets of music through guided listening to selected masterpieces of Western music as well as exposure to folk music, popular music, and non-Western music. No previous knowledge is needed. Intended for non-majors. (This course satisfies Humanities.)
MUSC 105: Sylvan Singers
91ÉçÇø Sylvan Singers focuses on choral repertoire written for treble voices, from all genres and time periods. Concerts include collaborations with other ensembles such as the 91ÉçÇø Concert Choir, Chamber Choir, Orchestra, and Concert Band. Students of all ability-levels are welcome. There are no formal auditions, however, membership in this ensemble is contingent upon a voice-placement hearing held at the beginning of the semester. This course may be repeated for credit. (As a quarter-credit course, under the Forester Fundamental Curriculum, this course meets one-quarter of the Creative & Performing Arts requirement.) (This course satisfies Creative & Performing Arts.)
MUSC 106: College/Community Chorus
The 91ÉçÇø College/Community Chorus is an introductory mixed choral ensemble for beginning singers from the 91ÉçÇø Community. The College/Community Chorus performs choral music from classical, global, and popular repertoire in concerts both on and off campus. Performances may include collaborations with other ensembles including the 91ÉçÇø Chamber Orchestra, other collegiate and community choruses, and a wide range of soloists. No audition is required. No prerequisites. This course may be repeated for credit. (This course satisfies Creative & Performing Arts.)
MUSC 107: Concert Band
The Band performs marches, overtures, waltzes, and suites by such composers as Vaughan Williams, Holst, Sousa, and others. The ensemble is open to all students. This course may be repeated for credit. (This course satisfies Creative & Performing Arts.)
MUSC 108: Chamber Orchestra
The Chamber Orchestra is an ensemble devoted to the performance of Baroque, Classical, Romantic, and twentieth-century repertoire. The group performs two concerts each semester. The Chamber Orchestra is open to all qualified members of the College community. Auditions will be held early in the fall. This course may be repeated for credit. (This course satisfies Creative & Performing Arts.)
MUSC 109: West African Drumming Ensemble
The African Drumming Ensemble is a hands-on workshop for students of all levels interested in learning the basics of West African drumming. Students work on developing rhythmic skills using authentic instruments and learn about the role of music in the cultures of Guinea, Mali, and other countries. No prerequisite. This course may be repeated for credit. (This course satisfies Creative & Performing Arts.)
MUSC 110: Jazz Ensemble
The Jazz Ensemble performs music from big band classics and contemporary repertoire. The ensemble is open to all students by audition. This course may be repeated for credit. (This course satisfies Creative & Performing Arts.)
MUSC 119: Opera Workshop
The Opera Workshop is a course designed for advanced voice students who are participating in an opera production at 91ÉçÇø. Students taking this course will sing roles in operas, operettas, or opera adaptations in public performance. Participation is by audition only. (This course satisfies Creative & Performing Arts.)
MUSC 150: Fundamentals of Music
Introduction to elements and basic principles of tonal music: notation, intervals, scales, rhythm, meter, melody, and harmony. Emphasis on listening and creative work. No prerequisite, but some musical experience is helpful. (This course satisfies Humanities.)
MUSC 170: Intro to Music Teaching & Learning
This course introduces students to the skills of teaching music. It explores how human beings acquire musicianship, and covers the foundational elements of music education. Musical elements addressed include: musical development, musical aptitude, listening, movement, rhythm, song teaching, singing, improvisation, composition, and basic teaching techniques associated with these. Students should expect to actively engage in music making, teaching, and critical thinking. Peer teaching and clinical work with elementary students are key components of this course. MUSC 251 or Instructor approval. (This course satisfies Social Science and Speaking Intensive.)
cross listed: EDUC 170, MUSE 170
MUSC 171: Music, Health, and Wellbeing
Musicians learn essential life skills as they prepare for performance. Goal-setting, self-assessment, and navigating performance anxiety are essential skills for successfully navigating both music and life. Utilizing Social Emotional Learning and Mindfulness, students are able to explore their own skill-building while learning how to teach others to develop self-awareness, social-awareness, and responsible decision-making. Connections are made to solo performance, ensemble music-making, social justice/impact, and expanding music education beyond the traditional model of large ensembles. Through self-reflection, focusing on empathy, and broadening an understanding of the impact of music, students emerge with both personal skills to better navigate their own musicianship and an awareness of how to teach these skills to others. No prerequisites. (This course satisfies Social Science.)
cross listed: MUSE 171
MUSC 180: The Theater of Rock
In this course we take a close look at what rock performers do onstage. How do they present themselves? What does their clothing convey? What do their gestures suggest? How are their props significant? Are they "being themselves" or are they performing a different persona? How important is their performance to our perception of the music they play? Utilizing methodologies from the field of Performance Studies, we survey the history of rock 'n' roll starting with early performers such as Little Richard, Elvis Presley, the Beatles, the Rolling Stones, Jim Morrison, and Jimi Hendrix. We note the emergence of glam rockers in the early 70s such as David Bowie and Marc Bolan as well as shock rockers like Alice Cooper and Kiss. We also consider groups that seem to be just "being themselves" onstage like the Grateful Dead and the Allman Brothers. Other performers we study may include Michael Jackson, Madonna, Prince, Amy Winehouse, and Lady Gaga. Finally, we consider rock performance in the COVID era: Zoom and other forms of online delivery. Students have a chance to examine and write about their favorite music performers in class presentations and papers. No prerequisites. (This course satisfies Humanities and Domestic Pluralism.)
cross listed: THTR 180
MUSC 206: Concert Choir
91ÉçÇø Concert Choir focuses on choral repertoire written for mixed-voice ensembles, from all genres and time periods. Concerts include collaborations with other ensembles such as the 91ÉçÇø Sylvan Singers, Chamber Choir, Orchestra, and Concert Band. Students of all ability-levels are welcome. There are no formal auditions and but membership in this ensemble is contingent upon a voice-placement hearing held at the beginning of the semester. This course may be repeated for credit. (As a quarter-credit course, under the Forester Fundamental Curriculum, this course meets one-quarter of the Creative & Performing Arts requirement.) (This course satisfies Creative & Performing Arts.)
MUSC 217: World Music Survey
Survey of music of the world's peoples: music in the cultures of Africa, Asia, and Latin America; the social and cultural roles of music. No prerequisite. (This course satisfies Humanities and Global Perspective.)
MUSC 218: Music of Brazil: From Samba to Pop
Moving from studio recordings of samba and pop artists to field recordings of indigenous musicians, we explore the musical practices of Brazil throughout the twentieth and twenty-first centuries. As we delve into the contours and contexts of music scenes across the spectrum from bossa nova to hip hop, we begin to unpack what motivates musicians to create song as well as the meanings that these musicians and their listening audiences derive from such processes. Students garner essential knowledge about musical expressions in Brazil, including, but not limited to, Carnival, capoeira, country (sertanejo), folk (maracatu, afoxé, forró, repente, samba-reggae), gospel, MPB (música popular brasileira), hip hop, choro, samba, bossa nova, and Afro-Brazilian sacred music (Candomblé and Congado). Moreover, the goal of learning about these genres is not only to develop keen playing and listening skills, but also to hone skills in cultural understanding, collaboration, and empathy. To understand how Brazilian music is a site for racial justice, community, and historical struggle is to begin to develop a clear-eyed view of how Brazilians inhabit the social fabric of humanity in striking and meaningful ways. Learning activities entail lectures, class discussions, guest demonstrations, and student presentations and projects that incorporate creative analysis, writing, and invention. No prerequisites. (This course satisfies Humanities and Global Perspective.)
cross listed: LNAM 218
MUSC 220: Songwriting: Form & Analysis
Participants are guided through a history of popular American song forms. The course begins by analyzing, composing, and critiquing simple field hollers, chants, or nursery rhymes. Then we analyze classic blues forms, Tin Pan Alley songs, country & Americana, rock, pop, and hip-hop songs. Following each analysis, participants compose original songs based on what we’ve gleaned from our analyses. Original songs are then critiqued by the class. Participants are expected to be able to write accurate chord charts, lead sheets, or accurately represent music in graphic form. Prerequisite: Private lessons in Songwriting Workshop (MUSA 111-20) or permission of the isntructor. (This course satisfies Creative & Performing Arts.)
MUSC 221: Speakers and Phones Workshop
Through extensive production and critique, the Speakers & Phones Workshop fosters artistic growth among beginners and experienced creators. The Workshop doesn’t depend on access to expensive recording equipment and studios. We use our memories, our bodies, our voices, musical instruments, pen and paper, apps, our smart phones, tablets, laptops… whatever amateur or professional sound-generating and recording equipment participants own or can get ahold of on their own. We edit and polish our audio creations and then distribute them online in attention-grabbing ways. Participants are encouraged to work from their strengths and to push beyond their comfort zones in order to create audio work that ranges from music to sound collage to spoken word to storytelling to journalism. No formal training is required. The only prerequisites are the ability to hear, a willingness to work hard, an open mind and ready access to either a computer or a smart phone. (This course satisfies Creative & Performing Arts.)
MUSC 222: Grateful Dead and American Culture
More than fifty years after the band's founding, the Grateful Dead looms larger than ever. From Haight-Ashbury acid-testers to visionary entrepreneurs, the band that grew up and out of the revolutions of the tumultuous 1960s found a way to mix everything from roots music to free jazz to rock into an "endless tour" that put them in the Fortune 500. The Grateful Dead provided a cultural soundtrack for not only the 1960s, but also the paranoia of the Watergate years, the Reagan-soaked 1980s, and on to the jam-band present. This course will focus on the band's performance of authentic "Americanness" throughout its half century run. We'll listen to their music, and also to their fans, enthusiasts, and scholars. We'll understand the various subcultures that separate the sixties and now, and in doing so, offer answers to this key question: Why do the Dead survive? (Elective for English, Theater, and Music) (This course satisfies Humanities.)
cross listed: THTR 206, ENGL 251, AMER 202
MUSC 223: Brazilian Music, Language, Culture
This introductory course is designed to develop the student's ability to comprehend, speak, read, and write basic controlled patterns of the Portuguese language. Brazilian music is used as an important tool to reinforce aural and written language acquisition as well as to provide specific cultural context through the examination of historical, social, and political elements of the music. The course draws from comparative linguistics to enhance student learning by making explicit connections between Portuguese and other Romance languages (French, Spanish). No prerequisites. (This course satisfies Global Perspective.)
cross listed: LING 223, PORT 223, LNAM 223
MUSC 225: Intro to Electronic Music
Designed for beginners in electronic music composition, the course provides a hands-on introduction to digital audio workstations. The course covers the basics of MIDI, patch editing, digital audio, mixing, and sound design. Students will compose music continuously throughout the semester, ending with an EP of original music to be released to the world. (This course satisfies Creative & Performing Arts and Technology Intensive.)
MUSC 227: History of Jazz
Principal styles of representative jazz musicians; the roots (including blues and ragtime); jazz in New Orleans and Chicago; and big band, swing, bop, and fusion. No prerequisite. (This course satisfies Humanities and Domestic Pluralism.)
cross listed: AMER 227, AFAM 227
MUSC 237: Hip-Hop Music Producers
(Hip-Hop Music Producers: American Music in Black, White, and Gray.) In this course we examine the role of the hip-hop producer. We learn the origins of hip-hop deejaying and music production and follow its development into sampling, digital collage, and producer-as-hip-hop-auteur. By digging into the sources of various samples, we learn about the history of American popular music production. In addition, we put the music created by hip-hop producers into historic context. There is no such thing as music production separate from identity. Because hip-hop is the dominant musical form of our time, and because it's widely viewed as a form of black music, we study it to flesh out American musical identity. In-class time consists of listening, lectures, discussions, quizzes, and midterms and final exams. Homework consists of readings and listenings. No prerequisites. (This course satisfies Humanities and Domestic Pluralism.)
cross listed: AFAM 238
MUSC 251: Music Theory I
Basic elements of tonal harmony including triads, seventh chords, figured bass, harmonic progression, voice leading, and four-part writing. Prerequisite: Music 150 or consent of the instructor. (This course satisfies Humanities.)
MUSC 252: Music Theory II
A continuation of the study of harmony, including modulation, chromatic harmony, and counterpoint. Prerequisite: Music 251 or consent of the instructor. (This course satisfies Humanities.)
MUSC 262: Great Composers
In this course we will examine the lives and works of three significant composers in detail. Each semester the three selected composers will change. Some of the composers might include: Bach, Mozart, Beethoven, Tchaikovsky, Mahler, Stravinsky, Schoenberg, Copland, Duke Ellington, John Adams, and others. The course involves biographical readings, close listening analysis, and concert attendance. No prerequisite.
MUSC 264: History of Rock and Roll
This course covers the history of rock music from its origins in the blues and American country music to the diverse rock styles heard today. Analysis of performances and compositional styles of several familiar rock stars is included. Social and political influences will be addressed, but the focus will be on the music itself. No prerequisites. (This course satisfies Humanities and Domestic Pluralism.)
cross listed: AMER 264
MUSC 265: American Music
Music in the United States from the time of the pilgrims to the present day. The course includes art music, folk music, religious music, and jazz. Prerequisite: Any music class or consent of the instructor.
cross listed: AMER 273
MUSC 266: Music in Film
Music has played an important part of the movie-going experience since the beginnings of the film industry in the 1890's, and the blending of music and drama has deeper roots still. This course charts the development of music and sound in film, from these deep roots through the mis-named silent-movie era and on to the great film composers of the twentieth century and today. Students will learn the fundamental elements of a film score, investigate how a film composer works, and develop a vocabulary for describing and assessing film music. No prior knowledge of music or film history is necessary. (This course satisfies Humanities.)
cross listed: AMER 266, CINE 266
MUSC 267: Disney, Music and Culture
Walt Disney created an empire both influencing and being influenced by society and culture since its inception. Disney films, music, propaganda, media, business practices, and merchandise have been imbedded into popular culture. Disney, Music, and Culture is an introduction to the history and content of the Disney Corporation, the films and soundtracks, and a critical look at them through the lenses of race, ethnicity, gender, sexuality, and disability, among others. A major element of this course will involve viewing Disney films and analyzing critically based on the lenses mentioned above. The evolution of how Disney utilized music will also be examined at length. Cross-listed with American Studies. No prerequisites. (This course satisfies Domestic Pluralism and Writing Intensive.)
cross listed: AMER 272
MUSC 268: Music and the Mind
In this course, we wrestle with fundamental questions regarding music and the human experience. Why does music exist? How did it evolve in the human species? What, exactly, does it do to us, as listeners and as practitioners? How does music change our brains? Is there really such a thing as a "Mozart Effect?" What new promises are there for therapeutic uses for music? Music's presence in the human species is clearly puzzling. While many scholars have speculated a reason for its existence, there is no definitive answer as to why we make music. Nevertheless, we do make music. There is not a single human culture on Earth that has no music. Some of the books we will be reading include Musicophilia, The Singing Neanderthals, and This is Your Brain on Music. Note that this is a course that requires students to give oral presentations. No prerequisites. (This course satisfies Humanities.)
cross listed: NEUR 268
MUSC 269: The Beatles as Musicians
The goal of this course is to introduce students to the study of popular music through the works of the Beatles. During this course, students develop their musical analysis and critical thinking skills in the process of learning about one of the most significant musical groups of the twentieth century. Students analyze the music of the Beatles in its historical context, as well as explore different theoretical approaches to the study of popular music, including the connections between music and text; the role of the Beatles as composers and musicians; the intersection of popular music and politics, gender, and race; and the function of music as a product in the global market. This course is designed for students of all backgrounds and enables students to develop their facility with music through written projects and discussion. No prerequisites. (This course satisfies Humanities.)
MUSC 271: Teaching Winds and Percussion
MUSC 271: The Art of Teaching Wind and Percussion Instruments. This course introduces students to the techniques of teaching woodwind, brass, and percussion instruments. Students will develop competency on these instruments and learn appropriate instructional strategies to teach these instruments. Specific instruments include: flute, clarinet, alto saxophone, trumpet, horn, trombone, euphonium, snare drum, and bells. Students should expect to actively engage in music making, teaching, and critical thinking. Peer teaching and clinical work with elementary/middle school students are key components of this course. Prerequisites: EDUC 170; No corequisites. (This course satisfies Social Science.)
cross listed: MUSE 271, EDUC 271
MUSC 272: Teaching String Instruments
MUSC 272: The Art of Teaching String Instruments. This course introduces students to the techniques of playing and teaching string instruments. Students will develop competency on these instruments and learn appropriate instructional strategies to teach these instruments. Specific instruments include: violin, viola, cello, and bass. Students should expect to actively engage in music making, teaching, and critical thinking. Peer teaching and clinical work with elementary/middle school students are key components of this course. Prerequisites: EDUC 170, with a grade of B- or better. No corequisites. (This course satisfies Social Science.)
cross listed: MUSE 272, EDUC 272
MUSC 273: Teaching Instrumental Ensembles
MUSC 273: The Art of Teaching Instrumental Ensembles. This course introduces students to the techniques of teaching bands and orchestras. This course is intended to provide students with a strong foundation of both skill and conceptual understanding in order to prepare them for a career in instrumental music education. It involve learning within both a college classroom setting and as a teacher and observer within K-12 schools. Specific elements include: conducting, score study, rehearsal technique, practical elements associated with organizing and executing an instrumental ensemble, and band/orchestra literature. Students should expect to actively engage in music making, teaching, and critical thinking. Peer teaching and clinical work with middle school students are key components of this course. Prerequisites: EDUC 170 with a grade of B- or better. No corequisites. (This course satisfies Social Science.)
cross listed: MUSE 273, EDUC 273
MUSC 274: Teaching Choral Ensembles
MUSC 274: The Art of Teaching Choral Ensembles. This course introduces students to the techniques of teaching choir. This course is intended to provide students with a strong foundation of both skill and conceptual understanding in order to prepare them for a career in vocal music education. It involves learning within both a classroom setting and as a teacher and observer within K-12 schools. Specific elements include: conducting, score study, rehearsal technique, practical elements associated with organizing and executing a choral ensemble, and choral literature. Students should expect to actively engage in music making, teaching, and critical thinking. Peer teaching and clinical work with middle school students are key components of this course. Prerequisites: EDUC 170 with a grade of B- or better. Corequisites: No corequisites. (This course satisfies Social Science.)
cross listed: MUSE 274, EDUC 274
MUSC 280: Wagner,Tolkien, and Star Wars
An in-depth comparative study of three epic masterpieces of Western culture: Richard Wagner's The Ring of the Nibelungen, J.R.R. Tolkien's The Lord of the Rings (through the films by Peter Jackson), and George Lucas' original Star Wars trilogy. Special consideration will be given to the role of music in each of these epics (including the film scores of John Williams and Howard Shore). No prerequisites.
MUSC 284: Music of Protest
Does a song have the power to alter history? Can music change the path of the politics of a nation? Throughout the history of the United States, music has played an important role in social, political, and cultural change. In this course, we focus on important moments of musical protest in Popular music in the United States, from the Civil War to the present day. We examine a range of issues, with a strong focus on Civil War-era abolition songs, music of the Civil Rights era, anti-War songs from the Vietnam and Iraq conflicts, and contemporary music that addresses police brutality and systemic racism. Additional topics include labor songs, and songs that protest environmental destruction. No prerequisites. (This course satisfies Humanities and Domestic Pluralism.)
cross listed: AFAM 284, AMER 284
MUSC 285: Creative Arts Entrepreneurship
Creative Arts Entrepreneurship will offer an overview of the processes, practices, and decision-making activities that lead to the realization of our creative ideas. Students from across the humanities, arts, sciences, and business will learn the unique contexts and challenges of creative careers, with an emphasis on collaborative projects. The course will help students understand the nature and structure of arts enterprise while cultivating their own career vision and creative goals. Creative Arts Entrepreneurship is designed for students interested in developing, launching, or advancing innovative enterprises in arts, culture, and design, and those who love the initiative, ingenuity and excitement of putting creative ideas into action. The course combines readings and in-class discussions with site visits, case studies, guest lectures by working artists and creative professionals, and student-driven projects. No prerequisites.
cross listed: ENTP 285, ART 285, ENGL 285, THTR 285
MUSC 302: Chanson et société
This course will examine popular music from the French-speaking world, and consider song as a reflection of social, political and cultural movements. Coursework will include listening to and viewing performances, and reading historical and critical texts on popular song. Examples will be drawn from French, Canadian and Francophone African song repertoires of various eras, and may also include music from other French-speaking territories. Students will learn terminology in French used to describe and analyze music. No previous musical experience necessary. Prerequisite: FREN 212 or equivalent. .
cross listed: FREN 326
MUSC 303: Paisajes sonoros de América Latina
(Paisajes sonoros de América Latina: Música, polÃtica y poder.) This course considers Latin American music within a broad cultural, political, and historical framework. Latin American musical practices are explored by illustrating the different ways in which aesthetics and society are intersected through music. Our discussions will be framed by a range of concepts pertinent to Latin American contexts such as colonialism, diaspora, mestizaje, globalization, migration and community. This course will examine popular music from Latin America, and consider a song a reflection of socio-political, historical, and cultural movements. Coursework will include listening to and viewing performances and reading historical and critical texts on music and its relation to politics. Prerequisite: SPAN 212 or higher 200-level course, or placement exam recommendation or permission of instructor.
cross listed: SPAN 303, LNAM 303
MUSC 306: Women and Gender in Hip Hop
This course examines the history and role of women and gender in Hip Hop, from the 1970s to 2010. The increasingly popular musical genre and cultural phenomenon is often critiqued for being misogynist and homophobic. This class examines where this critique stems from and subverts this narrative to show the importance of women and gender to hip hop music and culture. Topics covered in this course include female rap pioneers, how discussions of masculinity and femininity have shaped rap lyrics, and the growing gender fluidity in hip hop. Prerequisite: AFAM 120, 228, 238, or permission of Instructor. (This course satisfies Domestic Pluralism and Writing Intensive.)
cross listed: AFAM 305, GSWS 306
MUSC 307: Chamber Choir
The 91ÉçÇø Chamber Choir is an advanced choral ensemble. All singers registered for Sylvan Singers or Concert Choir may audition for Chamber Choir. The audition consists of: 1) a prepared segment from the ensemble's repertoire selected by the instructor, 2) vocal exercises, 3) aural exercises, and 4) sight reading. Repertoire chosen for this ensemble is at an advanced level and students are expected to work individually and in sections to secure their parts for full rehearsals. Performances include collaborations with other 91ÉçÇø ensembles including the Concert Band and Chamber Orchestra. Corequisite: MUSC 105 or MUSC 206; or permission of the instructor. This course may be repeated for credit. (This course satisfies Creative & Performing Arts.)
MUSC 325: Adv Electronic Music
A continuation of Music 225. More independent work and hard disk recording. Prerequisite: Music 225.
MUSC 351: Music Theory III
(Music Theory III: Atonal Systems and Theory of Jazz, Rock and World Music) This course will explore the theoretical systems of atonal and post-tonal music, including set theory and serialism. Theories and analyses of jazz, rock and world music will also be presented and explored. Prerequisite: Music 252.
MUSC 352: Form and Tonal Analysis
Study of the principal forms in Western art music including binary and ternary forms, sonata, theme and variation, and rondo. This course covers analysis of tonal masterworks of the eighteenth and nineteenth centuries, including music of J. S. Bach, Mozart, Beethoven, Schubert, and Brahms, applying the knowledge gained in the study of tonal harmony. Prerequisite: Music 351.
MUSC 360: Music History I
(Music History I: From Chant to Bach) An introduction to the music of the Middle Ages, Renaissance, and Baroque periods. Composers emphasized include Machaut, Josquin, Palestrina, Lassus, Monteverdi, Schutz, Purcell, A. Scarlatti, Handel, and Bach. Music 360 and 361 may be taken out of order. Prerequisite: Music 150 or consent of the instructor. (This course satisfies Humanities.)
MUSC 361: History of Western Art Music II
Representative composers and compositions from the Classical and Romantic periods will be discussed, including Mozart, Beethoven, Haydn, Tchaikovsky, Brahms, and Wagner. The many trends and styles of music of the twentieth century will be covered, including Impressionism, Expressionism, Neo-Classicism, Minimalism, and Indeterminacy. Composers will include Debussy, Ravel, Schoenberg, Reich, and Cage. Music 360 and 361 may be taken out of order. Prerequisite: Music 150 or consent of the instructor. (This course satisfies Humanities.)
MUSC 480: Senior Seminar
Through networking assignments, in-depth discussion, readings, lectures, web exploration, TED Talks, and individually tailored assignments, the Senior Seminar helps students progress in five main areas of career advancement: Music Education and Scholarship, The Business of Music, Portfolio & Resume Development, Graduate School Investigation, and Networking & Mentor Engagement.
Applied Music Courses
MUSA 111: Applied Music
Private instruction in musical instruments and voice. 100-level applied music is open to all students. Students receive weekly 30 minute lessons and earn 0.25 credit each semester. The student must satisfactorily complete at least twelve weekly lessons and participate in a workshop each semester. This course is graded on a letter-grade basis. Repeatable for credit. No prerequisites. An additional fee is charged. See the Music Lessons webpage at http://www.lakeforest.edu/academics/programs/music/lessons.php for information on fees and waivers. Following are the sections available by instrument: 01 Classical Piano, 02 Jazz Piano, 03 Classical Guitar, 04 Voice, 05 Flute, 06 Oboe, 07 Clarinet, 08 Bassoon, 09 Saxophone, 10 Horn, 11 Trumpet, 12 Low Brass, 13 Percussion, 14 Violin, 15 Viola, 16 Cello, 17 Bass, 18 Jazz/Blues Guitar, 19 Improvisation, 20 Miscellaneous, 21 Conducting, 22 West African Drumming Chamber Ensemble, 23 Songwriting, 24 Aural Skills, 25 Harp (This course satisfies Creative & Performing Arts.)
MUSA 211: Applied Music
Private instruction in musical instruments and voice. Applied music study at the 200-level and above is intended for music majors and minors. Students receive weekly 60 minute lessons and earn ½ credit each semester. The student must satisfactorily complete at least twelve weekly lessons, participate in a workshop, and perform before a faculty jury each semester. This course is graded on a letter-grade basis. Prerequisite: permission of the department chair. An additional fee is charged. See the Music Lessons webpage at http://www.lakeforest.edu/academics/programs/music/lessons.php for information on fees and waivers. Following are the sections available by instrument: 01 Classical Piano, 02 Jazz Piano, 03 Classical Guitar, 04 Voice, 05 Flute, 06 Oboe, 07 Clarinet, 08 Bassoon, 09 Saxophone, 10 Horn, 11 Trumpet, 12 Low Brass, 13 Percussion, 14 Violin, 15 Viola, 16 Cello, 17 Bass, 18 Jazz/Blues Guitar, 19 Improvisation, 20 Miscellaneous, 21 Conducting, 22 West African Drumming Chamber Ensemble, 23 Songwriting, 24 Aural Skills, 25 Harp (This course satisfies Creative & Performing Arts.)
MUSA 212: Applied Music
Continuation of MUSA 211. Prerequisite: MUSA 211 (This course satisfies Creative & Performing Arts.)
MUSA 311: Applied Music
Continuation of applied music study. Prerequisite: MUSA 212, including a jury grade of C or better. (This course satisfies Creative & Performing Arts.)
MUSA 312: Applied Music
Continuation of MUSA 311. Prerequisite: MUSA 311. (This course satisfies Creative & Performing Arts.)
MUSA 411: Applied Music
Continuation of applied music study. Prerequisite: MUSA 312, including a jury grade of C or better. (This course satisfies Creative & Performing Arts.)
MUSA 412: Applied Music
Continuation of MUSA 411. Repeatable for credit. Prerequisite: MUSA 411. (This course satisfies Creative & Performing Arts.)