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| Title | Offering | Standing | Credits | Credits | When | F | W | S | Su | Description | Preparatory | Faculty | Days | Multiple Standings | Start Quarters | Open Quarters |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
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Chico Herbison
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Course | FR–SRFreshmen - Senior | 4 | 04 | Day | Su 13Summer Session I | This course will explore U.S. popular culture of the 1960s through five of the decade’s seminal albums: The Beach Boys’ , James Brown’s , Bob Dylan’s , Jimi Hendrix’s , and . Our texts will include each album’s counterpart from the book series. The final project will be a similar close reading of another 1960s album. Students interested in expanding their final projects into a major piece of music writing—à la the series—can develop individual learning contracts for additional credit during second session. | Chico Herbison | Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Andrew Buchman, Chico Herbison and Joye Hardiman
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Program | SO–SRSophomore - Senior | 16 | 16 | Day | S 13Spring | Afrofuturism is an emergent literary and cultural aesthetic embraced by artists who have imagined alternative futures, while often grappling with aspects of race, gender and ethnicity. Rone Shavers and Charles Joseph offered a critical working definition of the genre, first named by Mark Dery around 1995, as follows: "Afro-Futurism...combines elements of science fiction, historical fiction, fantasy and magic realism with non-Occidental (non-Western) cosmologies in order to critique not only the present-day dilemmas of people of color, but also to revise, interrogate, and re-examine the historical events of the past." Artists often listed in an emerging Afrofuturist pantheon include authors Samuel R. Delany and Octavia Butler; visual artists Jean-Michel Basquiat and Renée Cox; and musicians Parliament-Funkadelic (including George Clinton and Bootsy Collins), Sun Ra, DJ Spooky (Paul D. Miller), and Janelle Monáe.After laying the groundwork for explorations of the work of these and other artists, we will ask students to help us address these and other avenues for explorations of Afrofuturism, including race and digital culture; the role of technology in cultural formations; notions of Utopia, Dystopia, and the "post-historical" in Afrofuturistic literature; non-Occidental (non-Western) cosmologies and their uses in Afrofuturistic texts; trauma theory and its role in Afrofuturistic literary and cultural production; Afrofuturism's relationship to digital and/or urban music (i.e., drum and bass, garage, hip-hop, house, jungle, neo-soul, funk, dub, techno, trip hop, etc.); Black identity in Western literature, in light of Afrofuturism's general interrogation of identity and identity politics; Afrofuturism and its relation to previous race-based art movements and aesthetics (e.g., the Harlem Renaissance, Black Arts Movement, the New Black Aesthetic, etc.); Black Music as a source of Afrofuturistic discourse and/or liberation; the black superhero as Afrofuturistic rebel, and the black comic book as a "paraliterary" source of contemporary folklore; Afrofuturism from the perspective of film studies and/or video culture; and/or the social and cultural implications of a theory of Afrofuturism.Because the artworks we will be dealing with will be both exciting, provocative and fine, we think that students will find this hard intellectual work deeply rewarding, sometimes in unexpected ways. We expect to learn from students, and to share an intellectual adventure in an emerging, engrossing artistic terrain. While research writing and criticism will be emphasized, students will also be encouraged to pursue optional creative writing and music projects, for possible presentation to the entire program. | the humanities or the arts, especially creative writing and music. | Andrew Buchman Chico Herbison Joye Hardiman | Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Marla Elliott and Joli Sandoz
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Program | FR–SRFreshmen - Senior | 12 | 12 | Evening and Weekend | S 13Spring | Music, history, and thinking about God and the human condition will center this 12-credit, one-quarter program exploring interweavings of experience and thought. Our focus will be the Second Great Awakening in the U.S. (1780-1850), a religious revival movement that helped energize the shift as the U.S. turned from political, economic, and intellectual dependence on Europe to becoming a country in its own right. We’ll also consider how religious trends begun before 1850 continue to shape our lives in the 21st century.Program lenses will include the founding of shape note singing (a uniquely American form of Christian sacred music), spiritual experiences as reported in art and autobiographical writings, camp meetings, and Christian theology presented through sermons and church rituals. Possible additional topics include relevant fiction from the time, and the founding and continuation of one or more of the churches begun or settled in the U.S. after 1770 (African Methodist Episcopal Church, Shakers, Seventh Day Adventist Church, the Church of Jesus Christ of Latter-day Saints, and others).Participants will attend a shape note All-Day Singing as well as a workshop and concert of traditional music from the republic of Georgia and will work together to organize and host the Fourth Annual Olympia All-Day Singing. Three additional visits to places of worship will be required. Reading, writing, singing and collaborative work will be important sites of instruction and attention as we draw from history, music, psychology, literature, and theology to inform our explorations. Credit may be awarded in music, history, literature, and religious studies. | Marla Elliott Joli Sandoz | Mon Wed Fri | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Andrew Buchman, Qi Chen, Paul McMillin and David Shaw
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | F 12 Fall | During the 1930s, the capitalist world economy experienced a prolonged and severe economic depression. International trade fell by more than 50%. Unemployment in the U.S. rose to 25%. In this program, we'll explore the economic circumstances of the Great Depression, the social movements engendered and empowered in the U.S. during those years, and the music and theatre that those tough times inspired. These studies will shed light on our own era of economic crisis and increasingly radicalized political culture.We intend to look at competing theories of booms and busts, crises and crashes. We’ll review basic concepts of classical economics that proved inadequate to the situation, and look at some new economic ideas (Berle and Means, Keynes, Coase) that the Great Depression helped spawn. We'll look at ecological disasters like the Dust Bowl, and grand technological experiments with vast environmental consequences like the Grand Coulee Dam. These stories offer cautionary lessons to our own times around issues of sustainability.We'll examine political responses of the 1930s, including national initiatives, workers’ movements, Marxist critiques, and the rise of fascist and anti-fascist movements. Readings will include works by contemporary journalists, activists, revolutionaries, and documentarians who produced creative and insightful analyses of their age. We plan to trace the increasing influence of mass media and propaganda , and will investigate songs, films, shows, and photographs. Students will do close listening to pieces of music, analyzing them as one might a poem or painting. The music of Woody Guthrie and the photography of Dorothea Lange will be in the mix. Students should expect to become well-informed about the economic and political developments of the 1930s. They should be prepared to draw conclusions about the causes of economic crisis and the political, social, and aesthetic responses to crisis, and defend those conclusions in vigorous discussions with their classmates. This program will also prepare students for the winter quarter program, . | Andrew Buchman Qi Chen Paul McMillin David Shaw | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | |||||
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Arun Chandra
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Program | SO–SRSophomore - Senior | 16 | 16 | Day | S 13Spring | How can musical compositions express the complexity of their times? Western European music has had a long development of simultaneous complexity, from the introduction during Medieval times of independent voice leading, to the multi-voiced complexity of Gyorgi Ligeti's "micro-polyphony" in the 1960s. "Polyphony" is the opposite of “homophony”, in which musical lines are not independent of one another, but hierarchically bound to one another, harmonically and metrically, as in a "Barbershop Quartet".Polyphony has analogues in human and animal behavior. From the 1930s through the 1970s, the anthropologist Gregory Bateson studied the cultures of the South Pacific, the behaviors of alcoholics in San Francisco, and the language of dolphins. From these (and many other areas of study) he created analyses that addressed the complexity of their subject matters, without simplifying them. In this program, we will be reading analyses by Bateson, while creating compositions in sound that mirror and address the complexities that Bateson writes about, via the musical techniques of polyphony and voice-misleading.We will also investigate and learn how to use Max/MSP, one of the mostpopular software packages for the creation of music compositions, in an attempt to create acoustic events that might begin to match the complexity of our own times, using polyphony, and studying the ideas of counterpoint as shown in the compositions of J. S. Bach, Arnold Schoenberg, Gyorgi Ligeti, and contemporary composers. There will be regular listening sessions, musical projects, and writing assignments using the Bateson essays as models. The program will attend concerts of music in Seattle and Portland and give a public concert of our final compositions. | Arun Chandra | Sophomore SO Junior JR Senior SR | Spring | Spring | |||||
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Arun Chandra
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Program | FR–SRFreshmen - Senior | 8 | 08 | Day | Su 13Summer Session I | This course will focus on learning to use the computer to create and manipulate waveforms. Students will learn how to use the "C" programming language to synthesize and compose with waveforms while learning about their mathematical premises. Students will create short compositions using FM, AM, granular, and other synthesis techniques. We will listen to contemporary and historical experiments in sound synthesis and composition, and students will be asked to write a short paper on synthesis techniques. Students will learn how to program in "C" under a Linux or OS X system. The overall emphasis of the class will be in learning how to address the computer in a spirit of play and experiment, to find out what composition can become. There will be weekly readings in aesthetics, along with readings in synthesis techniques and programming. Students of all levels of experience are welcome. | Arun Chandra | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Marla Elliott
Signature Required:
Fall
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Course | FR–SRFreshmen - Senior | 2 | 02 | Evening | F 12 Fall | The Evergreen Singers is a two-credit class and a performing chorus. In fall 2012 and winter 2013, enrollment will be limited to 16 auditioned singers in addition to students in the 16-credit program . In fall, the Evergreen Singers will rehearse and perform music spanning the whole history of musical theatre and opera. | Marla Elliott | Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
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Marla Elliott
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Course | FR–SRFreshmen - Senior | 2 | 02 | Evening | S 13Spring | The Evergreen Singers is a continuing choral ensemble of The Evergreen State College community. No auditions are required. We will learn the basics of good voice production, and rehearse and perform songs from a range of musical idioms. Members of the Evergreen Singers need to 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. Spring repertoire will focus on early American composers. | Marla Elliott | Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Ben Kamen
Signature Required:
Fall Winter Spring
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Course | SO–SRSophomore - Senior | 4 | 04 | Evening | F 12 Fall | W 13Winter | S 13Spring | Students in Hybrid Music will work with advanced techniques in electronic music. The primary goal of the coursework is the creation of original pieces of music. In the fall, areas of exploration will include analog and digital synthesis, sequencing, and multi-channel sound. Winter quarter will focus on algorithmic composition, interactivity, and live electronics. In the spring, students will develop independent compositional projects. | Ben Kamen | Wed | Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | ||
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Ryo Imamura
Signature Required:
Spring
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Contract | SO–SRSophomore - Senior | 16 | 16 | Day | S 13Spring | This is an opportunity for sophomore, junior and senior students to create their own course of study and research, including internship, community service, and study abroad options. Before the beginning of spring quarter, interested students should submit an Individual Learning or Internship Contract to Ryo Imamura, which clearly states the work to be completed. Possible areas of study are Western psychology, Asian psychology, Buddhism, counseling, social work, cross-cultural studies, Asian-American studies, religious studies, nonprofit organizations, aging, death and dying, deep ecology and peace studies. Areas of study other than those listed above will be considered on a case-by-case basis. | Ryo Imamura | Sophomore SO Junior JR Senior SR | Spring | Spring | |||||
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Grace Huerta
Signature Required:
Winter
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Contract | FR–SRFreshmen - Senior | 8 | 08 | Day | W 13Winter | Individual study offers students the opportunity to develop self-direction, to learn how to manage a personal project, and to pursue original interdisciplinary projects of their own specific interest. Students interested in the fields of educational policy, multicultural literature, ESL K-12 education and percussion studies are encouraged to propose an independent research project via the ILC online form. | Grace Huerta | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | |||||
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Andrew Buchman
Signature Required:
Winter
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Contract | SO–SRSophomore - Senior | 16 | 16 | Day | W 13Winter | Please send me a preliminary proposal via email and I'll help you shape it. I often recommend projects that combine some research (on an artist or style) with some creative work (a thematic portfolio or series of songs), with some technical practice (on an instrument or in a medium or style). Internships and travel/study projects are also welcome. I'm especially interested in students who work in more than one artistic discipline intensively; for instance, music and visual art. Drafting academic statements and investigating careers--vital parts of designing your own education--can also be credit-bearing activities. | Andrew Buchman | Sophomore SO Junior JR Senior SR | Winter | Winter | |||||
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Arun Chandra
Signature Required:
Fall Winter Spring
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Contract | FR–SRFreshmen - Senior | 2 | 02 | Day | F 12 Fall | W 13Winter | S 13Spring | This is an opportunity for individual instruction on a musical instrument with a qualified instructor from the Olympia area. I can help you find an appropriate instructor, assuming one is available. It usually takes one and a half to two weeks to find a teacher and arrange lessons with them. For this reason, all contracts must be set up before the first week of classes.Each student will be expected to bear the cost of the individual lessons. Lessons will most likely occur off-campus, at the instructor's discretion.Each student will be expected to have one lesson a week, of a duration to be determined by the student and the instructor. At the end of the quarter, each student will be expected to perform one or two pieces (demonstrating what they have learned) in a collective, public recital on the Evergreen campus. From observing the performance, I will add my evaluation to the instructor's evaluation.The level of the instruction (beginner, intermediate, advanced) is dependent on the entry level of the student. Intermediate and advanced students will be given preference. | Arun Chandra | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | |||
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Walter Grodzik
Signature Required:
Fall
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Contract | SO–SRSophomore - Senior | 16 | 16 | Day | F 12 Fall | Individual study offers individual and groups of students the opportunity to develop self-direction, to learn how to manage a personal project, to focus on unique combinations of subjects, and to pursue original interdisciplinary projects without the constraints of an external structure. Individual and groups of students interested in a self-directed project, research or internships in Queer Studies or the Performing and Visual Arts should contact the faculty by email at | Walter Grodzik | Sophomore SO Junior JR Senior SR | Fall | Fall | |||||
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Ben Kamen
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Program | FR–SRFreshmen - Senior | 8 | 08 | Day | Su 13Summer Session II | In this program students will develop techniques for creating interactive works of sound and video art. Students will explore interactive and generative methods for controlling sound and video in Max/MSP/Jitter, a visual programming environment. In addition, students will use the Arduino micro-controller platform to create interfaces between the digital and real worlds. Creative projects, guided by reading and collaborative activities, will the be primary goal of the technical work. | Ben Kamen | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Ben Kamen
Signature Required:
Winter Spring
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Course | SO–SRSophomore - Senior | 4 | 04 | Evening | F 12 Fall | W 13Winter | S 13Spring | In this year long sequence, students will explore the creative use of the music technology labs. Original compositions will be the primary goal of the course work, with clear technical learning objectives for each assignment. Reading and listening will provide a historical and theoretical context for the creative work. Fall quarter will focus on the operation of mixers, tape machines, and analog synthesizers, looking to the work of early electroacoustic composers for inspiration. In the winter, students will begin working with the computer as a compositional tool, creating sound collages and compositions using MIDI to control hardware and software instruments. The spring quarter will focus on electronic music in performance and the development of independent projects. | Ben Kamen | Tue | Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | ||
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Sean Williams
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Course | FR–SRFreshmen - Senior | 4 | 04 | Day | Su 13Summer Session I | Sean Williams | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | |||||
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Chico Herbison
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Course | FR–SRFreshmen - Senior | 4 | 04 | Day | Su 13Summer Session I | This course will provide an introduction to jazz music, an overview of its history and styles, and an assessment of its impact on American culture. Students will explore the musical elements of jazz; its aesthetic, cultural, and historical roots; its evolution through a variety of styles, including New Orleans, Swing, Bebop, Cool, and Avant-Garde; and the ways in which the music, its players, and its history have helped shape American culture. The final project will involve the close reading of a single jazz album. Students interested in expanding their final projects into a major piece of music writing can develop individual learning contracts for additional credit during second session. | Chico Herbison | Mon Tue | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Terry Setter
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | Su 13Summer Full | This program provides instruction in the use of digital recording studio equipment, microphone design and placement techniques, mixing console design, signal flow, monitoring techniques, room acoustics, and signal processing. There will be written assignments based upon readings in Huber's , and students will present research on topics related to audio production. Students will do at least 50 hours of recording and familiarization work in teams of two in addition to the in-class activities. We will record local musicians and produce finished mixes of the sessions. | Terry Setter | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Peter Randlette
Signature Required:
Fall Winter Spring
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Course | SO–SRSophomore - Senior | 4 | 04 | Evening | F 12 Fall | W 13Winter | S 13Spring | Multi-track composition is the study of creating music with modern analog and digital technology. Musicians interested in the collaborative nature of working as a producer, engineer, and composer will learn the technical side of legacy tape-based and current disc-based systems as they create projects using the Music Oasis and the new fully-digital, surround control room and audio lab in the CCAM. Students will engineer, produce, and perform the works of classmates. The artistic aspects of signal processing and instrument manipulation will be primary areas of interest, and students will be expected to explore musical forms as well as in-depth production technologies. | Peter Randlette | Tue | Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | ||
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Sean Williams and Andrea Gullickson
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Program | SO–SRSophomore - Senior | 16 | 16 | Day | F 12 Fall | W 13Winter | S 13Spring | This program is designed to give students a set of perspectives and musical practices that reflect and express the concerns and values of people in particular times and places. We will examine social changes that gave rise to shifts in the arts, focusing in particular on eras, places or phenomena of specific artistic interest. In addition to examining Western music forms, we will explore music in the context of multiple world traditions (classical, popular and vernacular) and the contexts that gave rise to them in Asia, South America, and Africa. We expect to ask provocative questions, including: What is the relationship between power, patronage and the performing arts? Does the artist change the culture, or does the culture call forth the artist? Is there a connection between ritual origins of the performing arts and their spiritual effects? How can we use written language to help us understand more about music?Fall and Winter quarters include skill development in understanding the fundamentals of music worldwide: we will play and sing music, read music using multiple forms of notation, discuss what we are listening to, observe musicians engaged in practice and performance, and collectively develop our work in rhythm, timbre, melody, harmony and other realms by drawing from traditions in Europe, America, Brazil, Indonesia and West Africa. Three essays--covering different ways of writing about music--will be required during fall and winter. Our work throughout Fall, Winter and well into the Spring quarter will focus on issues common to musics and musicians everywhere, including race, class, gender, colonialism, liminality, physics, politics, religion, education and social structures. The genres we study might shift from chamber music to rock to jazz to opera; but also from samba to kabuki, gamelan or bluegrass. In each case we treat the entire genre of music as a whole: the instruments, voices, people and context all serve to inform your learning.Spring quarter we will branch out into more specific areas of study; with faculty guidance, students will choose an issue, a place and a genre to study and write about in a single short essay early in the quarter. In addition, students will be expected to do independent study as part of a fieldwork project that will take them off campus for several weeks. During those three weeks, students will explore an individual musician, group, company or genre on their own, producing a significant essay (approximately 20 pages) and oral presentation at the end of the quarter. This individual research project can take place in Olympia or anywhere in the United States, and faculty will work with students on aspects of writing up research, revision and oral presentation in the last few weeks of the program.Weekly program activities will include reading, focused listening, workshops, guest lectures, ear training, films, lectures and seminars. Skill development in musical performance (and occasionally movement) is expected; students will study a musical instrument or vocal tradition outside of class and demonstrate improvement over the course of the two quarters. At the end of each quarter, students will be asked to offer the results of their individual research and collaborative project work in both performances and presentations. | performing arts and cultural studies. | Sean Williams Andrea Gullickson | Mon Tue Wed | Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |
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Arun Chandra and Richard Weiss
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Program | FR–SOFreshmen - Sophomore | 16 | 16 | Day | F 12 Fall | W 13Winter | Systems are not only of things but the relations between them.Mathematics offers an elegant language for the creation and analysis of relations and patterns, in and out of time. In its essence it is about order, continuity and difference.Music (when not merely reproduction) comes into being when a composer desires, specifies and implements sounds in a system of relations. ("Style" being a short-hand for a particular system of sounds and their relations.)Thus, music realizes the offer of mathematics when an implementation of desire involves systems of thought: what you want is what you get---but you have to want something! and articulate it! in a language! of things! and relations!---which is cybernetics."Cybernetics is a way of thinking about ways of thinking, of which it is one." --Larry Richards.This program interleaves the composition of computer music with the mathematics and analysis of sound. We will explore how it relates to scientific methodology, creative insight and contemporary technology. We will address "things" such as music and sound, rhythms and pulses, harmonics and resonances, the physical, geometrical, and psycho-physical bases of sound, acoustics, and their differing sets of relations by which they become "systems".A composer/musician and a computer scientist/mathematician will collaborate to offer a creative and practical, accessible and deeply engaging introduction to these subjects for interested non-specialists. Our math will be at a pre-calculus level, though students may do research projects at a more advanced level if they choose. Interdisciplinary projects could include creating music algorithmically with computers, or analyzing sound mathematically.Cybernetics offers both a philosophy underlying systems of thought, as well as frameworks with which one can both analyze and create. This program is designed for those who find their art in numbers, their science in notes, their thoughts on the ground, and their feet in the stars. By combining music, mathematics and computer science, this program contributes to a liberal arts education, and appeals to the creativity of both buttocks of the brain. | Arun Chandra Richard Weiss | Mon Mon Tue Tue Thu Thu | Freshmen FR Sophomore SO | Fall | Fall Winter | |||
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Rose Jang and Marla Elliott
Signature Required:
Winter
|
Program | FR–SRFreshmen - Senior | 16 | 16 | Day | F 12 Fall | W 13Winter | Vocal performance and instrumental music have existed as primary vehicles of human emotion and communication since the dawn of history and across cultural boundaries. Whether it was the choral ode recited to the accompaniment of the lyre in the classical Greek age during 5th century BCE, or the ritualistic hymns sung to the solemn tune of Zheng around the same antiquity in China, music has since accompanied literary ingenuity and punctuated everyday life via melody and rhythm in different parts of the world. Musical theatre brings under its artistic umbrella the individual forms and aesthetics of music, dance, acting, poetry, dramatic literature and architectural environment. Many parallels can be drawn between the musical theatres of the East and West. For example, Chinese opera evolved from classical roots, through the politically frenzied revolutionary opera of the Cultural Revolution of 1966-76, and then to the current revival and reinterpretation of traditional repertory beginning in the nineteen-eighties. European musical theatre followed its own torturous path; the Renaissance Italians imitated ancient Greek theatre by creating European opera, which was then parodied by English Ballad Operas in early 18th century, and then later adapted into satiric cabaret musicals such as Brecht & Weill's two hundred years later. In this two-quarter program, we intend to study various forms of musical theatre in specific cultural context, from both Western and Eastern tradition, and aim to bring them alive by actively and seriously practicing voice, singing, acting, movement and music performance. In fall quarter, we will trace the evolution of musical theatre cross-culturally. Chinese, Japanese and other Asian musical theatre styles will be set in distinct contrast to the long trail of Western musical ventures from the classical Greek theatre, Renaissance theatre, and European opera to 20th and 21st century musical plays. We will try to understand the artistic merit and intention behind each work of musical theatre and comprehend the social, political or philosophical themes embodied by the unique combinations of music and stylized performance that each theatre adopts.At the same time we are studying history and culture in lecture, seminar, reading and writing, we will also learn to sing, to act, to play music instruments, and to set poetic texts, which may have been preserved without extant music scores, to creative new compositions in workshop and projects. Students will write songs based on Chinese texts in translation and stage fresh versions of classical Chinese musical drama using cultural knowledge and creative imagination. Winter quarter will be devoted mainly to rehearsals and production work for a major production. Students will learn to gear all their creative and performative efforts to one complicated, full-length musical theatre piece, possibly Jeremy Barlow's setting of , and stage it in a public performance at the end of the quarter. | theater, music composition and performance, cultural studies and other studies and careers demanding good written and oral communication skills. | Rose Jang Marla Elliott | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
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Marla Elliott
|
Course | FR–SRFreshmen - Senior | 2 | 02 | Evening | S 13Spring | This class will help students learn fundamentals of music literacy and beginning piano technique, and also help them develop free, healthy singing voices. At the end of each 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 | Tue | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Andrew Buchman and Ratna Roy
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | W 13Winter | In this program we will focus on the dance and music culture of central eastern India, specifically the art-rich state of Orissa. While some music or dance background would be useful, it is not necessary. This is a culture and history offering, along with some practical hands-on experience in dance and music. We will immerse ourselves in this ancient culture of dance and music. Our readings will include themes such as gender, colonial history and post-colonial theory, and the current economic ferment that is transforming many aspects of Indian society today. A research option is available for students who opt not focus on performance, in consultation with the faculty.The first iconographical evidence of Orissa's dance and music culture comes from 2nd-1st century BCE, and the culture thrived for centuries before it declined under colonial rule to be partially revived in the 1950s and 60s. This effort still continues, and we will be part of that effort. | Andrew Buchman Ratna Roy | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
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Peter Randlette
|
Program | FR–SRFreshmen - Senior | 8 | 08 | Day | Su 13Summer Session I | Computers are now the basic sketchpad for creating music. From recording instruments into them to using software instruments that sound like nearly anything, software recording allows extremely complex production. This five-week program will familiarize members with the use of computer based MIDI soft and hardware, synthesizers, and cover some of the technical 'mysteries' which are critical to comprehending use. This program is mostly about exploring the musical production process. The only prerequisites are interest in music, some keyboard and/or guitar skill, and curiosity. Lecture and workshop sessions will cover operation of the systems, demonstrating different techniques in a group setting. This will be the time for reviewing readings, presenting questions, and troubleshooting. Students will play back their pieces for feedback and so that others can see how different people compose. Individual studio times will be assigned to each student. These times are for trying the different functions of the software, creating short musical ideas to apply learned skills and experimenting with new techniques. Members will be expected to spend a minimum of two 4-hour blocks in the studio per week. Consulting times will be scheduled to permit members to meet for individual or small group assistance in the studio. If members are having problems understanding operation, this is the time to get additional help. | Peter Randlette | Tue Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Marla Elliott
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Course | FR–SRFreshmen - Senior | 2 | 02 | Evening and Weekend | Su 13Summer Session II | Shape note music has captivated and inspired American singers for two hundred years. Its dissonant harmonies and full-throated vocal style have led to the label “gospel-punk”. In this short, intensive course we will learn the basics of this music and its practices, and then travel to Buckley, Washington to participate in an All-Day Singing event. All skill levels are welcome. Students can expect to improve their music literacy, vocal strength, and sight-singing skills; they will also learn about the history of American hymnody. | Marla Elliott | Fri Sat Sun | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer |
