A concentration in music comprises 11 courses: 209, 210, 251, 252, 253, 254 or 259, 280 and 281 (half-credit courses), 350, 351, the Senior Project (450-451 or 452), and one course credit in performance (from among courses in solo performance and/or group performance). A more complete description of the Senior Project is available from the department. Prerequisite for 209: 109 or placement through department placement exam; prerequisites for 280 and 281: 180 and 181 respectively. Concentrators are also expected to participate in departmental ensembles in each semester. Students contemplating graduate work in music should consult with a member of the department at an early date. Honors in music will be awarded on the basis of a cumulative average of 3.5 (90) or above in all courses required for the major, as well as distinguished achievement on the Senior Project.
A minor in music comprises five courses: 209, two courses from among 251, 252, 253, and 254 or 259; one course credit in performance (from among courses in solo performance and/or group performance); and one other full-credit course except 109.
Music 104, 154, and 160 are open to juniors; 109 is open to both juniors and seniors. Juniors and seniors without prior courses in the department may enroll in 258 and 420.
Courses in Literature and History of Music
104S Masterpieces of Western Music.
A listening course based on the study of selected masterpieces of Western music in their historical context. Emphasis on listening skills and the evaluation of cultural and musical meanings. Includes instrumental and vocal works by Monteverdi, Handel, Mozart, Beethoven, Verdi and Stravinsky. No ability to read music is assumed or required. Not open to seniors or students who have taken 258.
(Writing-intensive.)
Maximum enrollment, 20.
Hopkins.
[108]
From Words to Song.
An exploration of the relationship between words and music — of the many and different ways in which the meanings and emotions of the words have (and have not) been expressed through music in the last millennium.
(Writing-intensive.)
(Proseminar.)
No previous knowledge of music required. Not open to seniors.
Maximum enrollment, 16.
[154]
Music of the World’s Peoples.
A study of selected cultures around the world, including Native American music of North America, sub-Saharan African music, African-American music in the United States, Latin American music and the classical traditions of India, Indonesia and Japan. Consideration given to musical style and the role of music in these cultures.
(Proseminar.)
Not open to seniors.
Maximum enrollment, 16.
160F History of Jazz.
A study of jazz from its origins (its African heritage, blues and ragtime) to 1950. A survey of jazz styles, including New Orleans and Chicago styles, boogie-woogie, swing, bebop and cool jazz. Not open to seniors.
(Same as Africana Studies 160.)
Woods.
[208]
Women in Music.
A critical examination of popular and art music from women's perspectives in relation to race, class and sexuality. Topics include women as performers and composers, representations of women in music, musical criticism and cultural values that have affected women's participation in musical life.
(Same as Women's Studies 208.)
251F Music in Europe Before 1600.
A study and analysis of major developments in style of Western music to 1600, including early music theory, the rise of notation and polyphony, the relationship between music and text, and problems of performance practice. Consideration of the influence of political, economic, technological and cultural environments upon the development of musical styles.
(Writing-intensive.)
Prerequisite, 109.
Maximum enrollment, 20.
Hamessley.
252F Music in Europe, 1600 to 1900.
A study and analysis of major developments in style of Western music between 1600 and 1900, including the birth and development of opera, the growth of the concerto and symphony, the proliferation of program music and consideration of the varied audiences for whom composers of the Baroque, Classical and Romantic periods were writing. Consideration of the influence of political, economic, technological and cultural environments upon the development of musical styles.
(Proseminar.)
Prerequisite, 109.
Maximum enrollment, 16.
Hopkins.
253S Music in Europe and America Since 1900.
A study and analysis of major developments in style of Western music since 1900, in particular the dissolution of tonality in the first decades of the century, the alternatives to traditional tonality that developed subsequently and the proliferation of styles in more recent years. Consideration of the influence of political, economic, technological and cultural environments on these developments.
(Proseminar.)
Prerequisite, 109.
Maximum enrollment, 16.
H Buchman.
[254]
Studies in World Music.
Examination of selected non-Western music cultures with primary emphasis on West African drumming and Javanese gamelan traditions. Focus on musical procedures as well as cultural uses of the music and corollary arts. Includes hands-on performance in the traditions studied.
(Proseminar.)
Prerequisite, 154 or consent of instructor. Offered every other year.
Maximum enrollment, 16.
258F Opera.
Study of literary and musical dimensions of operas by major composers from Monteverdi and Mozart to the present. Emphasis on the transformation of independent texts into librettos and the effects of music as it reflects language and dramatic action. Includes such works as Orfeo, The Marriage of Figaro, Otello, The Turn of the Screw and Candide. Prerequisite, two courses in music or two in literature, or one in each field, or consent of instructors. (Same as Comparative Literature 258.)
Maximum enrollment, 24.
Hamessley and P Rabinowitz.
259S Studies in Jazz.
A study of the life, times and music of selected jazz musicians from 1950 to the present. Emphasis on the range of jazz styles from that era including funky, fusion and free jazz. Prerequisite, 160 or consent of instructor.
(Same as Africana Studies 259.)
Woods.
[262]
African-American Popular Music.
A study of the music of selected popular African-American artists, including rhythm-and-blues artists, black gospel soloists and performers of soul music and rap music. Focus on the social issues, musical modes of expression and cultural importance of the artists. Prerequisite, one full-credit course in music.
(Same as Africana Studies 262.)
[420]
Seminar: American Folk Revivals.
Study of the various folk revivals that marked 20th-century U.S. cultural life, from the publication of the first song collections of Lila W. Edmonds and Cecil B. Sharp to the Washington Square scene in New York's Greenwich Village. Grounded in the study of the music and its circulation, the course will also examine the impact of these revivals on dance, film, literature, and politics. Prerequisite, two courses in music, history or English (in any combination), or consent of instructors. Offered every other year. (Same as American Studies 420).
Maximum enrollment, 12.
125F,S Applied Music.
The study of music through lessons in voice, flute, oboe, English horn, clarinet, bassoon, saxophone, horn, trumpet, trombone, euphonium, tuba, piano, organ, harp, percussion, acoustic guitar, jazz guitar, violin, viola, 'cello and contrabass. Based on evaluation of Satisfactory/Unsatisfactory. Prerequisite, consent of instructor. Students may repeat courses for credit in Applied Music to a maximum of two credits of study in any given instrument with the consent of the instructor. Following successful completion of two credits of Applied Music, the student must advance to Solo Performance for further study for credit. The Department.
126F,S Applied Music.
The study of music through lessons in voice, flute, oboe, English horn, clarinet, bassoon, saxophone, horn, trumpet, trombone, euphonium, tuba, piano, organ, harp, percussion, acoustic guitar, jazz guitar, violin, viola, 'cello and contrabass. Based on evaluation of Satisfactory/Unsatisfactory. Prerequisite, consent of instructor. Students may repeat courses for credit in Applied Music to a maximum of two credits of study in any given instrument with the consent of the instructor. Following successful completion of two credits of Applied Music, the student must advance to Solo Performance for further study for credit. The Department.
141-142F,S Group Performance.
The study of music through performance in one or more of the following: Orchestra (Buchman), Brass Lab (Buchman), Woodwind Lab (Buchman), College Choir (G. Kolb), Oratorio Society (G. Kolb), Jazz Ensemble (Woods) and Jazz Improvisation (Woods). Prerequisite, consent of instructor. (Oratorio is graded S/U and is open to seniors by audition only. Jazz Improvisation is graded S/U.). One-quarter course credit each semester. The course may be repeated throughout the student’s college career. Students may count up to four credits from among 141, 142, 241, and 242 toward graduation. The Department.
216F Conducting.
The elements of conducting, including baton technique, aural perception, rehearsal techniques and score study (both instrumental and choral). Prerequisite, any 200-level full-credit music course. Concurrent participation in a college ensemble required. G Kolb.
225F,S Solo Performance.
The study of music through lessons and performance in voice, flute, oboe, English horn, clarinet, bassoon, saxophone, horn, trumpet, trombone, euphonium, tuba, piano, organ, harp, percussion, acoustic
guitar, jazz guitar, violin, viola, 'cello and contrabass. Students must participate in at least one public performance per semester as specified in the Music Department Handbook. Prerequisite, consent of instructor. Successful completion of, or placement out of, Music 109 must occur within three semesters of Solo Performance study. May be repeated for credit. A fee is charged. The Department.
226F,S Solo Performance.
The study of music through lessons and performance in voice, flute, oboe, English horn, clarinet, bassoon, saxophone, horn, trumpet, trombone, euphonium, tuba, piano, organ, harp, percussion, acoustic
guitar, jazz guitar, violin, viola, 'cello and contrabass. Students must participate in at least one public performance per semester as specified in the Music Department Handbook. Prerequisite, consent of instructor. Successful completion of, or placement out of, Music 109 must occur within three semesters of Solo Performance study. May be repeated for credit. A fee is charged. The Department.
241-242F,S Advanced Group Performance.
The study of music through chamber performance in one or more of the following: Instrumental Chamber Ensembles (Buchman), College Hill Singers (G. Kolb), Jazz Combo (Woods). Co-requisite, concurrent registration in the corresponding Group Performance ensemble required; i.e., Orchestra, College Choir or Jazz Ensemble respectively, and consent of instructor. One-quarter course credit each semester. May be repeated throughout the student's college career. Students may count up to four credits from among 141, 142, 241 and 242 toward graduation. The Department.
326F,S Advanced Solo Performance.
The study of music through lessons and performance in voice, flute, oboe, English horn, clarinet, bassoon, saxophone, horn, trumpet, trombone, euphonium, tuba, piano, organ, harp, percussion, acoustic guitar, jazz guitar, violin, viola, 'cello and contrabass. Hour tutorial for one-half credit required for and open only to students who are preparing half or full recitals approved by the Music Department. Prerequisite, successful completion of at least two semesters of Solo Performance, 109 and consent of instructor. Students may only enroll in Advanced Solo Performance upon completion of or co-registration in 209 or one course in literature and history of music at the 200 level. May be repeated for credit. A fee is charged. The Department.
Courses in Theory and Composition
109F,S Theories of Music: Fundamentals.
Intensive training in the fundamentals of music, with an emphasis on the study of melodic structures, harmonic intervals and chords, rhythm and meter, and basic musical forms. Regular written assignments, including computer assignments aimed to develop musicianship skills. Prerequisite, ability to read music in at least one clef. Prospective music concentrators are strongly urged to register concurrently in 180 and 181. May not be counted toward the minor. Hopkins (fall); S Pellman (spring).
180F Basic Aural Skills.
Introduction to aural understanding through sight-singing, dictation and the rudiments of music notation. Diatonic major scales and keys, diatonic intervals, diatonic melodies, tonic and dominant arpeggiation, an introduction to minor scales and keys, cadences, rhythms in simple and compound meters. One-quarter course credit. May be repeated for credit with consent of instructor. Prerequisite, concurrent or previous registration in 109 or consent of instructor. Hamessley.
181F,S Basic Keyboard Skills.
Introduction to keyboard skills including note identification, intervals, major and minor scales, triad identification, 7th chords, simple chord progressions and basic sight-reading. One-quarter course credit. May be repeated for credit with consent of instructor. Prerequisite, concurrent or previous registration in 109 or consent of instructor. Not open to seniors. Best.
209F Theories of Music: Counterpoint and Harmony.
A study of counterpoint, voice-leading, harmonic progressions and chromatic harmony. Consideration of common processes in music and how they are perceived. Concurrent registration in Keyboard Skills (181 or 281) is highly recommended for prospective music concentrators. Prerequisite, 109 and 180 (may be taken concurrently). Hopkins.
210S Theories of Music: Musical Forms.
Analytical techniques and analysis of common musical forms from many traditions, including European classical, popular, jazz and other music from around the world. Consideration of common structures in music and how they are perceived. Concurrent registration in Keyboard Skills (181 or 281) is highly recommended for prospective music concentrators. Prerequisite, 209 and 280 (may be taken concurrently). Hopkins.
213S Jazz Arranging.
The theoretical designs used in combo, big band and third-stream writing. Coverage of jazz scales, chords, voicings, ranges and tonal properties. Students are expected to compose and copy the parts to three compositions, one of which will be read and recorded. Prerequisite, 209. Woods.
277F Music for Contemporary Media.
Experience with the aesthetics and techniques of the modern recording studio, including the uses of sound synthesizers, digital samplers and MIDI. Creative projects using these techniques. Prerequisite, ability to read music in at least one clef. Three hours of class and three hours of studio.
Maximum enrollment, 14.
S Pellman.
280S Intermediate Aural Skills.
A continuation of 180. Development of aural understanding through sight-singing and dictation. Tonic and dominant arpeggiation in inversion, diatonic melodies with simple modulation, further work in minor keys, introduction to alto and tenor clefs, chromatic intervals, harmonic progressions, rhythms in mixed meters, modal scales. May be repeated for credit with the consent of instructor. One-half course credit. Prerequisite, 180 and consent of instructor. The Dept.
281F,S Intermediate Keyboard Skills.
A continuation of 181. Four-part chord progression reading, alto and tenor clef, melodic transposition, introduction to figured harmony, chord progressions, intermediate sight-reading. One-half course credit. May be repeated for credit with consent of instructor. Prerequisite, 181 and consent of instructor. Best.
[368]
Seminar in Musical Composition.
Contemporary techniques of musical composition, including notational practices and score preparation. Emphasis on developing the ability to structure musical ideas in a series of short pieces in a variety of media, culminating in the presentation of selected works in a studio recital. Prerequisite, 209. (Offered in alternate years.)
Maximum enrollment, 12.
[369]
Advanced Musical Composition.
A continuation of 368 [Seminar in Musical Composition]. Students work on individual projects involving more extended musical forms. One-quarter course credit. May be repeated for credit with consent of instructor. Prerequisite, 368.
Maximum enrollment, 3.
377S Electronic Arts Workshop.
Emphasis on collaborative work among computer musicians, digital photographers and videographers in the creation of visual/musical works. Other projects will include transmedia installations or performance art pieces. Prerequisite, Art 302 with consent of instructors, Art 313 or Music 277.
(Same as and Art 377 .)
Maximum enrollment, 14.
E Gant and S Pellman.
380F,S Advanced Aural Skills.
A continuation of 280. Development of aural understanding through sight-singing and dictation. More extensive modulation of melodies and harmonic progressions, aural analysis of small binary forms, further work in alto and tenor clefs. One-half course credit. May be repeated for credit with consent of the instructor. Prerequisite, 280 and consent of instructor. Hamessley.
381F,S Advanced Keyboard Skills.
A continuation of 281. May include continued work in alto and tenor clef, reading open scores, more advanced figured harmony and advanced sight-reading. One-half course credit. May be repeated for credit with consent of instructor. Prerequisite, 281 and consent of instructor. Best.
Third-year Seminars and the Senior Project
350F Topics in Music.
In-depth consideration of topics in music theory, history, composition and performance. Topics for 2009: CSound Applications; Orchestration and Score Study; and Bernstein's Candide.
(Oral Presentations.)
Prerequisite, 210 and one additional full-credit music course at the 200 level. Buchman, Hopkins, S Pellman.
351S Topics in Music.
In-depth consideration of topics in music theory, history, composition and performance. Topics for 2010: Jazz Greats; Music of the Southern Appalachians; and Editing Renaissance Music.
(Oral Presentations.)
Prerequisite, 210 and 251 (251 may be taken concurrently) or consent of instructor. G Kolb, Hamessley, Woods.
450F Senior Project I.
Supervised work on a specific project based on proposals submitted to the department by the end of the student’s junior year. Prerequisite, consent of department prior to second semester of student’s junior year. One-half credit. Open to seniors only. Not open to students who have taken 452. The Department.
451S Senior Project II.
Completion of senior project. Prerequisite, 450. One-half credit. The Department.
452F,S Senior Project.
Supervised work on a specific project based on proposals submitted to the department by the end of the student’s junior year. Prerequisite, consent of department prior to second semester of student’s junior year. Open to seniors only; not open to students who have taken 450/451. The Department.
Two visiting artists series bring world-class performers to campus not only to perform, but to work with students in workshops, seminars and classes. Recent visitors in the Classical Connections series include Grammy Award-winning vocal ensemble Chanticleer, the Renaissance Band, Piffaro and Imani Winds. The Contemporary Voices and Visions series has brought Alex Torres and the Latin Kings, the Hachioji Kuruma Ningyo Puppet Company, and Cultural Odyssey's Big Butt Girls, Hard-Headed Women.
Sharing Music in the U.S. and Abroad
The College Choir continues a tradition of choral excellence that dates to the founding of this ensemble in 1867. The choir's annual spring concert tour has recently included performances in Chicago, Montreal and Atlanta, and the choir also has toured Europe seven times in 25 years most recently to Italy in 2009. Likewise the College Orchestra has logged five concert tours in a decade, including a trip to Romania and Bulgaria.
Student Groups
Students maintain many of their own musical groups that perform on and off campus. Among them: The Gospel Choir which ranges in size from 10 to 30 students; the Buffers, a men's a cappella octet; the Hamiltones, a progressive, coed a cappella group; Special K, an innovative women's close-harmony group; and Tumbling After, a women's a cappella group.
Two visiting artists series bring world-class performers to campus not only to perform, but to work with students in workshops, seminars and classes. Recent visitors in the Classical Connections series include Grammy Award-winning vocal ensemble Chanticleer, the Renaissance Band, Piffaro and Imani Winds. The Contemporary Voices and Visions series has brought Alex Torres and the Latin Kings, the Hachioji Kuruma Ningyo Puppet Company, and Cultural Odyssey's Big Butt Girls, Hard-Headed Women.
Sharing Music in the U.S. and Abroad
The College Choir continues a tradition of choral excellence that dates to the founding of this ensemble in 1867. The choir's annual spring concert tour has recently included performances in Chicago, Montreal and Atlanta, and the choir also has toured Europe seven times in 25 years most recently to Italy in 2009. Likewise the College Orchestra has logged five concert tours in a decade, including a trip to Romania and Bulgaria.
Student Groups
Students maintain many of their own musical groups that perform on and off campus. Among them: The Gospel Choir which ranges in size from 10 to 30 students; the Buffers, a men's a cappella octet; the Hamiltones, a progressive, coed a cappella group; Special K, an innovative women's close-harmony group; and Tumbling After, a women's a cappella group.
Two visiting artists series bring world-class performers to campus not only to perform, but to work with students in workshops, seminars and classes. Recent visitors in the Classical Connections series include Grammy Award-winning vocal ensemble Chanticleer, the Renaissance Band, Piffaro and Imani Winds. The Contemporary Voices and Visions series has brought Alex Torres and the Latin Kings, the Hachioji Kuruma Ningyo Puppet Company, and Cultural Odyssey's Big Butt Girls, Hard-Headed Women.
Sharing Music in the U.S. and Abroad
The College Choir continues a tradition of choral excellence that dates to the founding of this ensemble in 1867. The choir's annual spring concert tour has recently included performances in Chicago, Montreal and Atlanta, and the choir also has toured Europe seven times in 25 years most recently to Italy in 2009. Likewise the College Orchestra has logged five concert tours in a decade, including a trip to Romania and Bulgaria.
Student Groups
Students maintain many of their own musical groups that perform on and off campus. Among them: The Gospel Choir which ranges in size from 10 to 30 students; the Buffers, a men's a cappella octet; the Hamiltones, a progressive, coed a cappella group; Special K, an innovative women's close-harmony group; and Tumbling After, a women's a cappella group.
AFTER HAMILTON
Hamilton graduates who concentrated in Music are pursuing careers in a variety of fields, including:
Attorney, New York State Senate
Chairman, Performing Arts Department, Portledge School
Conductor/Artistic Director, Indianapolis Opera
Executive Director, New Hampshire Humanities Council
Lecturer of Voice, Crane School of Music
Pediatric Dentist, Healthreach Dental Center for Children
Professor of Music and Music Technology, California State University
Senior Vice President, Bank of America
Staff Physician, Virginia Medical Center
Vice President, Wells Fargo Bank
Violinist, American Ballet Theatre
Vice President, Strategy and Business Development, Independent Comedy Network
