Course Descriptions

Fall Term

101. Basic Musicianship—An introduction to the melodic, rhythmic, and harmonic structure of tonal music, with the emphasis on the development of a chordal vocabulary equally adaptable to classical and popular music. A required weekly practicum will stress ear-training (recognition of intervals, chords, rhythms, etc.) and its practical applications at the keyboard. Enrollment limited. Prerequisite for Music 201, may not be counted toward the major in music. (1.25 course credits)

Sec. 20, 21, 22, 23. Practicum Sections

103. Concert Choir—The Concert Choir normally sings two programs each semester, with repertoire chosen mainly from the classical realm, though music in popular idioms is occasionally performed. Membership is by audition. (0.5 course credit)

105. Instrumental Ensemble Program—Chamber ensembles are formed at the beginning of the semester to study and perform works from the classical repertoire. Permission is required; entrance by audition only. Every effort is made to group students with others at the same skill level. (0.25 course credit)

107. Lessons—Individual instruction in voice, orchestral instruments, and keyboard (piano, organ, harpsichord) is offered by teachers invited to the College campus; credit may also be granted for lessons taken from outside teachers who have been approved by the Department. Fees for lessons (including those offered on campus at Trinity College) will be billed separately by the instructor, and are not included in the regular charges for tuition. Lessons will be provided free of charge to Music Majors who are receiving grant assistance from the College. Prerequisite: Music 101, which may be taken concurrently. (0.5 course credit)

109. Jazz Ensemble—The Jazz Ensemble performs several times each year. Permission is required; membership is by audition. (0.5 course credit)

[110. Jazz Theory and Improvisation]—This course is designed for students who want to learn to improvise in the various jazz idioms, and who want to compose or arrange music for jazz performance. The course will cover diverse aspects of jazz theory, including chord/scale relationships, voice leading, the blues, harmonic substitution, and rhythmic fluency. Students at all levels are welcome, but must be able to play an instrument and to read music. Prerequisite: Music 101, or permission of the instructor.

111. Latin Music Ensemble—Study and performance of salsa and other Latin music styles. Emphasis is on the Cuban tradition, but genres from Puerto Rico, the Dominican Republic, and Brazil are also included. Membership by audition and permission of the instructor. (0.5 course credit)

117. Music of Black America—A survey of the music of black Americans from the antebellum period to the 1990s, the emphasis being on the cultural functions of the music composed. Major genres include slave songs, blues, jazz, and rap. Readings from the works of black American novelists, essayists, and poets complement discussions of the music itself.

119. Production Participation—For departmental musical-theatre productions, students may enroll on a show-by-show basis at the beginning of the show’s production process. To do so, see the instructor to arrange for credit. Offered only Pass/Fail. (0.25 course credit)

122. Listening to Music II—Symphonies, Choral Works, Opera. We will listen to a variety of music from the concert repertory of the eighteenth through early twentieth centuries, focusing on multi-movement works in their entirety. Out-of-class listening is an important component of this class: we will attend concerts at Trinity, at the Bushnell in Hartford, and at least one concert in either Manhattan or Boston. Featured composers include Vivaldi, Bach, Handel, Beethoven, Mozart, Schubert, Schumann, Brahms, Wagner, Verdi, Debussy, Bartók, and Stravinsky. No previous training in music is required.

124. The Birth of Modernism—Few periods have been as rife with creative artistic expression as the first three decades of the 20th century. This course will examine ballet, opera, and “mixed entertainments” by such composers as Debussy, Ravel, Falla, Stravinsky, Bartók, Schoenberg, and Weill, taking note of the developments in dance, drama, and the graphic arts ( as well as in scientific and philosophical awareness) that complement breakthroughs in musical style and form. Such well-known artistic names as Nijinsky, Picasso, Brecht, Cocteau, and Wilde will be discussed. No previous training in music is required.

201. Diatonic Harmonic Practice—Study of the harmonic practices of the 18th and 19th centuries, through part-writing exercises and the analysis of typical works. An intensive course with integrated practicum sessions, which focus on the development of skills in sight-singing, dictation, and keyboard proficiency. and written exercises modeled after those works. Prerequisite: Music 101 or equivalent preparation. (1.5 course credits)

[207. Conducting and Orchestration]—Introduction to choral and orchestral conducting, supplemented by both practical and theoretical exercises in orchestration. Ability to read music is essential; background in music theory, though helpful, is not necessary. Prerequisite: permission of the instructor.

216. African Music—This course explores musical traditions and styles of the African continent, focusing primarily on sub-Saharan Africa. Through investigation of musical materials, written sources, and special workshops, we will study the role of musical sound and practice among different African societies and cultural groups. A central theme of the course concerns the continuity of traditional musics and the development of modern hybrid styles in the past century, as a window onto the processes that have shaped everyday experience and cultural identity in contemporary Africa. No prior musical knowledge is required, although previous courses in music, anthropology, or cultural studies are recommended. Music 113 is strongly recommended.

234. Protests in Music—This course examines the ways in which social and political issues are expressed in music. We will look at music written, composed, and performed in Paris, Harlem, and Hartford in the 18th, 19th, and 20th centuries, and explore the ramifications of the social and political issues for the music. Topics to be covered include: the music of the French Revolution; music of urban black America, 1960 to the present; Hector Berlioz, Ludwig van Beethoven, Claude Debussy, and “protests” in classical music. Enrollment limited.

[301. 20th-Century Practices]—The study of the harmonic, rhythmic, and timbral compositional practices of the 20th century, through written exercises and the analysis of typical works. Weekly practicum sessions emphasize advanced score-reading and sight-singing skills. Prerequisite: Music 202.

[312. The History of Western Music II]—An intensive survey of the development of musical style in Europe and the United States through the analysis of selected works from the late 17th century to the mid-19th century. Composers to be studied include J.S. Bach, Handel, Vivaldi, Mozart, and Beethoven. Prerequisite: Music 202. Previously listed as Music 212.

399. Independent Study—Submission of the special registration form, available in the Registrar’s Office, and the approval of the instructor and chairperson are required for enrollment. (0.5-2 course credits)

407. Senior Recital—The preparation and presentation of a full-length program. Enrollment is subject to the approval of the Faculty in Music. Interested students should consult with the Chair as early, if possible, as two semesters before the proposed recital date to discuss the requirements and receive a copy of recital policies and procedures. The course is open to both majors and non-majors. Concurrent enrollment in Music 107 is not permitted. Submission of an Independent Study form, available in the Registrar’s Office, and the approval of the instructor and chairperson are required for enrollment.

415. Special Studies in Music—Individual or group study and research on a selected topic under the guidance of a member of the Faculty in Music. Permission granted only to advanced students. Submission of a completed Independent Study form, available in the Registrar’s Office, and the approval of the instructor and chairperson are required for enrollment. (0.5-1 course credit)

[421. Style in the Renaissance: Claudio Monteverdi]—Monteverdi (1567-1643) was the greatest composer of the late Renaissance and a leader in the development of the Baroque style. This intensive survey of his life and career will focus on his madrigals, his sacred works, and his operas, from Orfeo to L’incoronazione di Poppea. Prerequisites: Music 301 and 311-313.

[422. Style in the Baroque Period]—Survey and analysis of compositions of the period from 1600 to 1750, with special attention to the life and works of Johann Sebastian Bach. Prerequisites: Music 301 and 311-313.

[423. The Operas of Mozart]—An analytic and historical study of Mozart’s major operatic works, concentrating on Idomeneo and on his mature operas for Vienna: Le nozze di Figaro, Don Giovanni, Così fan tutte and The Magic Flute. Prerequisites: Music 301 and 311-313.

[424. The Age of Beethoven]—A study of the life and works of Ludwig van Beethoven, concentrating on the development of his mature musical style and his enormous influence on later 19th-century composers. Prerequisites: Music 301 and 311-313.

[425. Topics in 19th-Century Music]—An examination of the life and career of Giuseppe Verdi, the greatest master of Italian Romantic opera. We will survey his growth as a composer from the early works, based on the conventions of the operas of Rossini and Bellini, to the original masterpieces of his later years. Works to be studied include Luisa Miller, Il Trovatore, Rigoletto, Aida, and Don Carlo, as well as two great operas based on Shakespeare: Macbeth and Otello. Prerequisites: Music 301 and 311-313.

[426. Topics in 20th-Century Music: Debussy, Ravel, and Fauré]—An intensive survey of the life and works of the three composers whose music and philosophies on music helped define a musical culture in France during the early years of the 20th century. A working knowledge of French is useful, but not required. Prerequisites: Music 301 and 311-313.

466. Teaching Assistantship—Submission of a the special registration form, available in the Registrar’s Office, and the approval of the instructor and chairperson are required for enrollment. (0.5-1 course credit)

601. IDP Study Unit—Independent study guide available only to students in the Individualized Degree Program. Permission of the instructor and a signed permission slip are required for registration. See the IDP Catalogue for a full listing.

602. IDP Project—Limited to students in the Individualized Degree Program. Requires submission of a special proposal form which is available in the IDP Office. (0-5 course credits)

Spring Term

Sec. 20, 21, 22, 23. Practicum Sections

103. Concert Choir—See Fall Term. (0.5 course credit)

105. Instrumental Ensemble Program—See Fall Term. (0.5 course credit)

107. Lessons—See Fall Term. (0.5 course credit)

109. Jazz Ensemble—See Fall Term. (0.5 course credit)

111. Latin Music Ensemble—See Fall Term. (0.5 course credit)

113. World Music—A comprehensive survey of global traditions, including village and urban music and dance of Africa, Europe, Latin America, and the Caribbean; classical and contemporary musics of India, the Middle East, and Far East Asia; and indigenous traditions of Australia and the Americas. This course is designed to highlight the central role of musical expression in human life, exploring musical sound and movement in sacred, secular, ritual, and non-ritual contexts. No previous musical knowledge is required, but students are expected to learn basic listening skills and identify musical styles. The course culminates in an intensive community learning component: a fieldwork project with a Hartford musical ensemble, including production of a concert with the group and a Web-site about the traditions it performs, oral histories of band members, and the local ethnic community it is part of. Enrollment limited.

119. Production Participation—See Fall Term. (0.25 course credit)—Moshell

120. Acting in the Musical Theatre—Musical-theatre acting is, in many ways, different from the technique and concerns of acting in non-musical plays. This course will train students in: the art of examining scripts and delivering dialogue onstage; utilizing one’s singing abilities most effectively in the rendering of vocal material; handling oneself onstage, with respect to stage movement/awareness as well as the use of props and costumes; and issues involving auditioning and the selection of appropriate material. No previous training in music is required. Enrollment limited. Permission of instructor required.

121. Listening to Music—A course in music appreciation, stressing the development of skills in listening to and recognizing music from a variety of historical periods, from the medieval era to the present day. An introduction to the principles of musical notation will precede the stylistic survey. No previous knowledge of music is required. This course cannot be counted toward the Music Major. Enrollment limited.

[132. Current Trends in Black Musical Expression]—This course examines forms of black musical expression from the 1980s through the present time. The focus is on hip hop culture and rap, and their expressive antecedents. The course begins with a look at slave musics and blues, and continues by exploring the music and times of The Last Poets, Public Enemy, KRS-One, Tupac, Roots, DMX, Lauryn Hill, God’s Property, composer Anthony Davis, and a variety of emerging, very contemporary musicians. Readings feature selections from a variety of sources, both scholarly and popular, including Henry Louis Gates, Houston Baker, Tricia Rose, Scott DeVeaux, Hazel Carby, Angela Davis, and Jessica Care Moore. Enrollment limited.

[150. Women in Music]—A broad survey of the music and music-making traditions of European and American women from antiquity to the present. While the focus will be on women active as composers and performers in the classical traditions, some attention will be given to women’s contributions to popular idioms, including blues, jazz, and, more recently, hip hop. The final project will be an interview with a Connecticut woman active as a music historian, composer, or performer. No previous training in music is required. Enrollment limited.

[152. Italian Music of the Renaissance and Baroque]—An introductory survey of the greatest period in Italian music, from the early 16th century to c. 1730. Composers to be studied include Palestrina; masters of the madrigal, such as Marenzio and Gesualdo; Claudio Monteverdi, the greatest Italian composer of the age; composers of harpsichord music, including Domenico Scarlatti; and concerto composers Arcangelo Corelli and Antonio Vivaldi. No previous background in music is required.

[156. Women and Music in Cross-Cultural Perspective]—In this course we will explore women’s roles as performers, composers, teachers, and consumers of music from a global perspective. Through historical, ethnographic, and sociological study we will consider how various cultures construct ideas about womanhood through musical practice and reception. Topics covered will include women as composers and performers in Western classical music: women in jazz, blues, rap, punk, salsa, and other popular forms; women-centered traditions from Eastern Europe, the Mediterranean, and the Middle East; and women performers in Latin America, Africa, and India. Issues we will discuss include ideas about sexuality, misogyny, the intersection of race and gender, and the separation of musical roles by gender. While there are no prerequisites, previous courses in music, anthropology, or women’s studies will be helpful.

[164. Mozart and 18th-Century Music]—An introduction to the life and music of Wolfgang Amadè Mozart (1756-1791). The course will also examine other composers of Mozart’s time, and consider the relationship between Mozart’s music and the main themes of Enlightenment thought in the 18th century. No previous training in music is required. Enrollment limited.

166. Beethoven: His Life and Music—An introduction to the life and work of Ludwig van Beethoven, who after more than 200 years is still the most loved and admired of all composers of Classical music. This course will focus both on Beethoven’s masterpieces--his symphonies, piano sonatas, string quartets, and other works--and on the effect they had on audiences and the musicians who tried to follow in Beethoven’s footsteps. No previous training in music is required.—Platoff

[172. The Contemporary Musical Theater]—An appreciation of the corpus of recent Broadway musicals that, beginning with Stephen Sondheim’s Company (1970), brought new aesthetic and intellectual vigor to an art form grown stale on the outmoded formulas of Rodgers & Hammerstein and Lerner & Loewe. “Musical comedy” no longer constitutes an appropriate term for these works born of contemporary consciousness and realism, works influenced by some of the most advanced streams of 20th-century artistic thought. Works to be studied include Hair, Pippin, Sweeney Todd, A Chorus Line, Cats, and many others. No previous training in music is required.

174. Jazz: 1900 to the Present—Through listening, discussion, and reading, this course will survey the development of jazz from ragtime and pre-jazz through New Orleans swing, be-bop, and modern jazz. Among composers and performers to be studied include Louis Armstrong, John Coltrane, Miles Davis, Duke Ellington, Scott Joplin, Thelonious Monk, Charles Parker, and Woody Shaw. No previous training in music is required. Enrollment limited.

200. Composition—Individual projects in free composition, with emphasis on acquiring and developing techniques of musical form and balance. When possible, student compositions will be performed. Prerequisites: Music 201 or equivalent preparation, and permission of the instructor.

202. Chromatic Harmonic Practice—Further study of the harmonic practices of the 18th and 19th centuries, through part-writing exercises and the analysis of typical works. Weekly practicum sessions focus on the consolidation of skills in sight singing, dictation, and keyboard proficiency. Simultaneous enrollment in the one-hour practicum is required. Prerequisite: Music 201 or equivalent. (1.25 course credits)

Sec. 20. Practicum Section

[214. Topics in World Music: Music of South Asia]—An in-depth exploration of the classical music and dance forms of North and South India; village traditions from India, Pakistan, Sri Lanka, Nepal, and Tibet will also be covered. We will study musical instruments (e.g., sitar, tabla) and basic components of musical style such as raga (melodic mode) and tala (time cycles). Other topics include: the role of music in everyday life, performance and patronage, gender roles, musical lineages, and the differing position of music in Hindu, Moslem, and Buddhist culture. No prerequisite or previous musical knowledge is necessary, but students are expected to learn basic listening skills and identify musical styles.

[215. Topics in World Music: Latin America and Caribbean Music]—Historical processes of colonization, slavery, and underdevelopment have led to a huge diversity of musical traditions in Latin America and the Caribbean, making it difficult to consider this region as a unified “culture area.” We will explore a wide range of music and dance styles in the Americas, examining similarities and differences among them. No previous musical knowledge is required, but students are expected to learn basic listening skills and identify musical styles.

218. The Psychology of Music—A broad survey of the aesthetic response to music. The course will cover perception, memory, and cognitive processes; musical structure and compositional genius — are some composers better than others?; musical taste and cultural beliefs — does a culture’s music have to sound the way it does?; possible explanations for changing aesthetic ideals; music in other cultures. Prerequisite: Music 101 or equivalent preparation. Enrollment limited.

224. Music of Black American Women—A broad survey of the music of black American women, focusing primarily on the music and lives of the great classic blues singers and the jazz singers of the 1940s through 1960s. No previous training in music is required.

311. History of Western Music I—An intensive survey of the development of musical style in Europe through the analysis of selected works from the music of the Greeks to the late 17th century. Composers to be studied include Machaut, Dufay, Josquin Desprez, Palestrina, and Monteverdi. Prerequisite: Music 201 or equivalent preparation. Previously listed as Music 211.

[313. The History of Western Music III]—An intensive survey of the development of musical style in Europe and the United States through the analysis of selected works from the mid-19th century to the present day. Composers to be studied include Schubert, Brahms, Verdi, Wagner, Stravinsky, and Bartok. Prerequisite: Music 301 and Music 312. Previously listed as Music 213.

407. Senior Recital —See Fall Term.

415. Special Studies in Music—See Fall Term.

466. Teaching Assistantship—Submission of a special registration form, available in the Registrar’s Office, and the approval of the instructor and chairperson are required for enrollment. (0.5-1 course credit)

601. IDP Study Unit. Independent study guide available only to students in the Individualized Degree Program. Permission of the instructor and a signed permission slip are required for registration. See the IDP Catalogue for a full listing.

602. IDP Project—Limited to students in the Individualized Degree Program. Requires submission of a special proposal form which is available in the IDP Office. (0-5 course credits)