2014–15 Academic Catalog

2014-15 Undergraduate Index A-Z

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Music [clear]

Title		Offering	Standing	Credits	Credits	When	F	W	S	Su	Description	Preparatory	Faculty	Days	Multiple Standings	Start Quarters	Open Quarters
Advanced Projects in Music: From Poetry and Montage to Sound Arun Chandra literature media studies music		Program	SO–SRSophomore–Senior	16	16	Day	F 14 Fall				The creation and the performance of music involves the structuring of time (now this movement, then that sound, but first a grand entrance!), and an aesthetic goal (how does one perform an 'I don't care!' attitude? with what sound can one express hunger? Does one preclude the other?). In this program, we'll explore the performance of music, as mediated by what one can learn from poetry and theories of film. We'll read and study the poetry of T.S. Eliot (his ) and Aime Cesaire (a 20 century Caribbean poet) particularly his and his version of Shakespeare's We will also read and study essays on film composition by Sergei Eisenstein (an early 20 century Russian filmmaker and theoretician). From the work of these artists, we will create weekly performance assignments. Students, working in small groups will create responses to these assignments, and receive weekly feedback from the class and from the faculty. The assignments will address issues of montage, aesthetics, sequence, dynamics and other structural considerations. Students will be challenged to create music works starting from the poetry and the structural relations we study. During the final week of the quarter, some of the assignments will be chosen by the class for public performance.		Arun Chandra		Sophomore SO Junior JR Senior SR	Fall	Fall
Counter Narratives: Songs and Stories Across Cultures Andrew Buchman and Leslie Flemmer American studies cultural studies gender and women's studies language studies media studies music sociology writing		Program	JR–SRJunior–Senior	16	16	Day			S 15Spring		Counter narratives are personal stories that alter our understanding of dominant cultural narratives. Detailed descriptions of the particular and the local convey unique personal experiences. Storytelling, songs, biographies, and ethnographies all enable us to engage imaginatively in the lives and experiences of people from different cultures, times, and places. Such counter narratives can document the daily encounters of marginalized people, generate knowledge, and build community. They can expand our understanding of reality, and help us to imagine future possibilities. The stories of young people who understand more than one culture through personal experience often undermine older ideas of social identity. Counter narratives can point us toward a future in which people from diverse cultural backgrounds can co-exist peacefully and learn from one another. How can different forms of literacy such as music or songs, media, and popular culture help generate counter narratives? In this unique and collaborative program between two institutions of higher education, Evergreen and Daejeon University in Korea, we will begin to investigate what it means to understand and tell our own stories, across different cultural domains, through music, storytelling, and learning in community. This program will also serve as an opportunity to support students developing more complex language skills through everyday encounters with each other. Evergreen students who engage with the participating group of visiting Korean students in their English language studies will acquire skills in teaching English as a Second Language (ESL). How can examining and sharing stories enable us to develop greater social and academic language skills? Students will mentor each other and collaborate on in-class projects, including ethnographies, story-telling and songwriting workshops, lectures and seminars on films, books, and works of art, field trips and nature walks in the beautiful Pacific Northwest, and other individual and small group creative and scholarly projects. Students in this program may earn credit in cultural studies and humanities, musicianship and story-telling, writing and language studies.		Andrew Buchman Leslie Flemmer		Junior JR Senior SR	Spring	Spring
The Evergreen Singers Marla Elliott music		Course	FR–SRFreshmen–Senior	2	02	Evening	F 14 Fall	W 15Winter	S 15Spring		No auditions are needed for this continuing singing ensemble. We learn the basics of good voice production and master songs from a wide range of musical idioms. Members of the Evergreen Singers should be able to carry a tune, learn their parts, and sing their parts with their section. This class requires excellent attendance and basic musicianship skills. Credit will be awarded in Chorus.		Marla Elliott	Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Jazz Ensemble - at SPSCC James Schneider music		Course	FR–SRFreshmen–Senior	2	02	Evening	F 14 Fall				This class provides the instrumentalist with an opportunity to study, rehearse and perform selected jazz music. Students will develop skill in musical improvisation. Participation by “non-music majors” is highly encouraged. Students must have the ability to read music and have basic knowledge of music theory and ability to play a jazz instrument. College drums and piano will be used. Otherwise, students are expected to use their own instruments. If you’re uncertain whether your instrument is appropriate for this ensemble, contact faculty. Fees payable at SPSCC: $10 for music Faculty: James Schneider NOTE: 2011 Mottman Road, SW, Olympia, WA 98512, in Building 21, Room 253, Tuesday evenings from 5:30 to 8:30 p.m. BOOKS: If a text is required students will need to purchase texts for this course from the SPSCC bookstore. The book list can be found on the bookstore website under the course Musc 134.		James Schneider	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Multitrack Composition I, II, III Peter Randlette media studies music Signature Required: Fall Winter Spring		Course	JR–SRJunior–Senior	4	04	Evening	F 14 Fall	W 15Winter	S 15Spring		Multitrack Composition is the study of audio technology and its role in changing the art of music composition and production. This three quarter long continuing class is concerned with the use of modern recording technologies as instrument. The use of signal processing, tape/computer based manipulation, and the structure of multitrack recorders and audio consoles allow a great number of techniques to be created on the fly to generate, modify, and document musical sound. Fall quarter will be spent reviewing operation, design and application of the campus facilities to gain common skill levels and technical knowledge, and complete proficiency in the Communications Building API1608 and Neve 5088 studios and associated facilities. The course is for musicians and engineers who want to develop compositional, technical and collaborative skills in modern production. This is a lab course with limited (20) positions available. Please make sure you complete an application and speak with the sponsor regarding your skills. If you have any questions, please contact the sponsor.		Peter Randlette	Tue	Junior JR Senior SR	Fall	Fall Winter Spring
Musical Cities Stephanie Kozick and Andrea Gullickson aesthetics architecture cultural studies field studies literature music sociology writing		Program	SO–SRSophomore–Senior	16	16	Day	F 14 Fall	W 15Winter	S 15Spring		Alfred Lord Tennyson This program is a yearlong academic inquiry into the paired realms of music and the city. The history of modern music sits squarely in the emergence of cities. Can we get an impression of the waltz without getting an impression of 18th-century Vienna? Can we consider New Orleans without considering jazz? And certainly, urban recording companies, such as Cincinnati’s King Records in the late 1940s to early 1960s, influenced what urban dwellers listened to. The connected study of these aspects of society—music and cities—creates a lively academic journey. Inquiry in this program will bring to light how cities and music interact with one another, how each changes the essence of the other, how each are expressions of culture. Music and cities are “characters” for deep consideration. The distinct topics of urban life and urban music will be explored through familiar modes of inquiry: readings, workshops, writing and listening. Furthermore, work that combines the two topics will move us to understand their interface. Fiction, such as (Seth, 2000), a tale set in Venice and Vienna that explores how music can both unite and divide, helps portray the urban, international music scene. Kurt Ambruster’s nonfiction (2011) connects the topics through a historical perspective. There are also specific collected urban sound experiments to think about: John Cage’s New York City art and score is one such experiment, and Steve Reich’s minimalist composition is another. This program will experiment with its own collection of city sounds through student fieldwork projects. In this program, expect to develop a new language to express what you are hearing and learning about in the world of music and cities. You will learn to listen critically, to become familiar with genres of music and to understand music’s cultural implications. At the same time you will be immersed in the concept of “city” by experiencing others’ visions of cities, how we navigate urban environments and how we change them. Fall and winter in-class work will be punctuated with fieldwork to explore the sounds of nearby cities. In spring, students will have the opportunity to design a field study that investigates the urban/music significance of a city of your choice and means. A formal field study proposal will be required as a tool to plan a five-week field study.		Stephanie Kozick Andrea Gullickson	Mon Tue Wed Thu	Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Musical Theatre as Liberal Education: Interdisciplinary Lessons from Sondheim Marla Elliott and Mark Harrison literature music theater		Program	FR–SRFreshmen–Senior	8	08	Evening and Weekend			S 15Spring		“Art, in itself, is an attempt to bring order out of chaos.” “Musicals are, by nature, theatrical, meaning poetic, meaning having to move the audience's imagination and create a suspension of disbelief, by which I mean there's no fourth wall.” --Stephen Sondheim Stephen Sondheim is widely considered by critics and public alike to be the most influential and innovative composer/lyricist in American musical theatre. His works demonstrate that musicals, both on and off Broadway, are powerful vehicles for important ideas about self, culture, history, and creativity. Working with the sources, scores, and texts for these complex and subtle musical plays requires us to collaborate, to cross cultural barriers, and to become personally engaged with the ways they are embodied. We will learn how Sondheim brings "order out of chaos.” From a performance standpoint, we will study (and sing!) representative songs from Sondheim’s musicals. Students will also actively participate in staging practices of the musical in general and Sondheim's works in particular. Our examination of Sondheim's art will also involve analysis and some writing. Students will be expected to read the assigned texts, do required listening and screening, and complete all writing assignments.		Marla Elliott Mark Harrison	Wed Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Musicianship Marla Elliott music		Course	FR–SRFreshmen–Senior	2	02	Evening			S 15Spring		Students will learn fundamentals of music literacy and piano technique, and develop free, healthy singing voices. This class emphasizes the value of live performance and collaboration with other musicians. At the end of the quarter, students will perform both vocally and on piano for other class participants and invited family and friends. This class requires excellent attendance and a commitment to practice every day. Credit will be awarded in Musicianship.		Marla Elliott	Mon	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Musicianship Marla Elliott music		Course	FR–SRFreshmen–Senior	2	02	Evening	F 14 Fall				Students will learn fundamentals of music literacy and piano technique, and develop free, healthy singing voices. This class emphasizes the value of live performance and collaboration with other musicians. At the end of the quarter, students will perform both vocally and on piano for other class participants and invited family and friends. This class requires excellent attendance and a commitment to practice every day. Credit will be awarded in Musicianship.		Marla Elliott	Mon	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Orchestra - at SPSCC Chip Schooler music		Course	FR–SRFreshmen–Senior	2	02	Evening	F 14 Fall				Musicians proficient on orchestral instruments will rehearse and perform works from the standard orchestral repertoire, together with students at South Puget Sound Community College. No audition is required. Required fee payable at SPSCC: $45 for orchestra music Faculty: Chip Schooler NOTE: , 2011 Mottman Road, SW, Olympia, WA 98512, Building 21, room 253, Thursdays, from 7-9:30 pm BOOKS: If a text is required students will need to purchase texts for this course from the SPSCC bookstore. The book list can be found on the bookstore website under the course Musc 160		Chip Schooler	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Sacred Movement, Sacred Sound Sean Williams and Robert Esposito dance international studies music religious studies somatic studies		Program	FR–SRFreshmen–Senior	16	16	Day	F 14 Fall				This program explores the connection between spirituality and the performing arts in multiple contexts. First, we will examine the physical context of ritual spaces such as temples and landscapes in Japan, India, China, Tibet, and elsewhere. Second, we will discuss the context of the mind, in which spiritual concepts of liminality, cosmology, and mindfulness combine with both Asian and Western ways of thinking. In addition, because interdependence in community and family is an essential aspect of spiritual ways of knowing; some of our work includes collaboration through discussion, presentation, and performance. We will use sound and movement in theory and practice to better understand these connections. Each week will include lectures, workshops, seminars, films, and some type of engagement in the arts. The college owns an Indonesian gamelan, which students in this program will learn to play as part of their work in understanding community music-making from an Asian culture. Gamelan playing requires sitting on the floor, letting go of starring in the rehearsal or performance, and playing well with others. We will incorporate physical movement throughout the quarter as we come to develop our understanding of the relationship between body, mind, and spirit.Students enrolled in this program will be expected to participate fully in all program activities, including those that require some element of the unfamiliar (for example, moving the body in various ways and learning to make new vocal and instrumental sounds). In the ten weeks of fall quarter, each student is expected to write two research papers, develop one collaborative presentation, and create one solo presentation. Other writing, rehearsals, and exploratory activities will occur as well. Your contribution to this program will be most effective if you choose to take your work and your ideas as seriously as we do.		Sean Williams Robert Esposito	Mon Tue Tue Tue Wed Wed Thu Thu Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Student-Originated Studies: Performing Arts Kabby Mitchell cultural studies dance media arts media studies music theater visual arts		SOS	SO–SRSophomore–Senior	16	16	Day	F 14 Fall	W 15Winter			This is an opportunity for well-prepared students to do authentic, significant, independent work in dance, theatre, music or film production. Students enrolling in this program should have one or more potential project ideas before the start of fall quarter. Please contact the faculty with any questions regarding your specific ideas.Participants will meet weekly to discuss their projects and to collaboratively work in small groups. Students will be expected to give progress updates, outline challenges, and share ideas for increasing the quality of the work that they are doing throughout the quarter. Specific descriptions of learning goals and activities will be developed individually between the student and faculty to insure quality work. At the end of the quarter students will present their projects to their peers in the most suitable manner for their particular project.	performance art, dance, theater, music, and cultural studies.	Kabby Mitchell	Wed Wed	Sophomore SO Junior JR Senior SR	Fall	Fall Winter