An accelerated version of MUSC 101 intended for performing musicians or other students with fair experience as listeners. After a quick review of the history of Western music, the course proceeds to consider topics such as the many manifestations of songs through the centuries, music and dance, music and politics, and musical exoticism/globalization. In addition to songs, other genres under consideration include symphonies, concertos, sonatas, operas, and musicals. Students take an active role in selecting music for discussion. May not be taken for credit by students who have taken MUSC 101.
Students continue to expand their abilities to play piano, analyze chords and musical ideas, and compose original music. The new topics covered in this course include counterpoint, melodic and harmonic development, formal analysis, part-writing, and extended harmonies. As in MUSC 160, musicality is developed by integrating theory and analysis, aural skills, performance, and composition. Through this integration of skills and knowledge, the course fosters a comprehensive understanding of music relevant to our current musical and cultural landscape.
The music history of the United States encompasses many richly varied strands—native, imported, learned, vernacular. This course focuses on the music created and consumed by large numbers of Americans, primarily in Anglo-American and African American cultures. Attention to specific performers (“artists”), especially female, redresses the likely gender imbalance of a course oriented mainly towards composers. In rough chronological order students learn about the nation’s hymns (including shape-note traditions) and spirituals, minstrel tunes, ragtime, early pop music and “evergreens,” jazz, American orchestras, the blues, rock ’n’ roll, and hip-hop. Students also engage the concept of “phonograph effect,” as introduced by Mark Katz: the way recording technology fundamentally reshapes not just American music but the way that we experience and think about music.
This is the final course in the theory and musicianship sequence. Students continue to hone the skills introduced in the previous semesters, while progressing onto more advanced concepts. The new topics covered in this course include modulation, chromatic harmony, tonal extensions, modality, jazz theory, hip-hop studies, and post-tonality. As in MUSC 160 and 260, musicality is developed by integrating theory and analysis, aural skills, historical contextualization, performance, and composition. Through this integration of skills and knowledge, the course fosters a comprehensive understanding of music relevant to our current musical and cultural landscape.
Building upon digital audio, MIDI, recording, and production skills introduced in MUSC 214, this course offers students the opportunity to create an extended original project that could include an EP of several songs or tracks, an extended composition, or a music and media project. Students learn more advanced recording, production, and post-production skills as well as creative strategies for generating, developing, and arranging musical ideas. Students utilize the sound and recording studio in conjunction with digital audio workstations (DAWs) to explore mastering, mixing, and remixing, all with the aim of producing a professional-level recording of their work.
Music, Ensembles and Lessons (Individual and Group)
The University Choir plays an important role in the musical life of the University and All Saints' Chapel. At All Saints', the choir's activities include singing at all Sunday Eucharist services during the semester as well a monthly Choral Evensong. In addition to its liturgical duties, the choir offers several concert performances throughout the year, often with orchestral accompaniment. Membership in the choir is open to any undergraduate student.
The University Orchestra presents the full range of the symphonic repertory and collaborates frequently with other organizations to present choral-orchestral and musico-theatrical works. Participation in the University Orchestra is open to all qualified undergraduate students as well as students from the School of Theology, faculty, and members of the Sewanee community.
Singing from the Sacred Harp hymnal represents an old but still rewarding Southern musical practice, suitable for all amateurs willing to sing loudly. In twice-a-week practices, we cover the fundamentals of shape-note singing and learn to sing in parts. Approximately once a month we travel to Alabama to participate in one of the traditional Sacred Harp singings.
Jazz Ensemble provides experiences in performance of all types of jazz literature from early swing (Duke Ellington, Count Basie) and Latin forms (Antonio Carlos Jobim) to contemporary fusion (Pat Metheny, Brecker Brothers, Yellow jackets). The group focuses on the developing jazz student, providing an opportunity for a challenging ensemble experience while encouraging the performer to explore improvisation. In addition, members have the opportunity to compose and arrange music for the ensemble. Membership is open to all students regardless of major. The group consists of saxophones, trumpets, trombones, guitar, bass, drum set and keyboard. In addition, the group involves male and female vocalists as well as string players with an interest in learning to sing or play jazz. The jazz ensemble offers one or more performances each semester.
The University gospel choir, which performs under the name "Sewanee Praise," offers a campus performance medium for gospel music. The group's repertory includes spirituals, traditional and contemporary gospel, praise and worship, and contemporary Christian. This course may be repeated more than once for credit.
This course is designed for the non-major. Weekly lessons with the instructor and daily practice are expected. This course may be repeated more than once for credit.
This course is designed for the non-major. Weekly lessons with the instructor and daily practice are expected. This course may be repeated more than once for credit.
This course is designed for the non-major. Weekly lessons with the instructor and daily practice are expected. This course may be repeated more than once for credit.
An intermediate singing course that provides individual lessons on a weekly basis with daily practice expected. This course may be repeated more than once for credit.
An intermediate singing course that provides individual lessons on a weekly basis with daily practice expected. This course may be repeated more than once for credit.
Focusing on musical theater and commercial vocal styles, this intermediate singing course provides individual lessons on a weekly basis with daily practice expected. This course may be repeated more than once for credit.
Focusing on musical theater and commercial vocal styles, this intermediate singing course provides individual lessons on a weekly basis with daily practice expected. This course may be repeated more than once for credit.
This course is designed for the non-major. Weekly lessons with the instructor and daily practice are expected. This course may be repeated more than once for credit.
This course is designed for the non-major. Weekly lessons with the instructor and daily practice are expected. This course may be repeated more than once for credit.
This course is designed for the non-major. Weekly lessons with the instructor and daily practice are expected. This course may be repeated more than once for credit.