Students learn to play the piano, read music notation, and compose songs. No prior musical experience is necessary. 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 4th hour addresses ear training and practical musicianship.
Students learn to play the piano, read music notation, and compose songs. No prior musical experience is necessary. 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 4th hour addresses ear training and practical musicianship.
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.
This course covers the fundamentals of electronic music and studio recording. Using Reason software, students learn about MIDI, sound synthesis, sampling, drum machines, loop players and sound processing. The second half of the semester focuses on Pro Tools, a digital recording program. Students learn recording techniques, sound editing, use of plug-in MIDI instruments, and how to produce recordings of their own music.
This course explores the intersection of Western music with sex, gender, and sexuality. Students apply concepts from the field of women’s and gender studies to analyze the construction of gender in music and musical discourse, as well as the roles sex and gender play in the careers, output, and reception of classical and popular musicians. Set at an intermediate level, this course assumes students have previous familiarity with basic musical concepts, including melody, harmony, major/minor tonality, and meter.
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.
In this course students develop their musical imagination beyond the material of MUSC 260–360. The goal is to acquire the necessary skills--including orchestration, development of material, part writing, and controlling textural density--to communicate musical thoughts and ideas. Students collaborate throughout the semester with a chamber ensemble of the Sewanee Symphony Orchestra, culminating in a public concert of original musical works. This course may be repeated three times for credit.
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.
Chamber ensemble is designed to provide students with a performance opportunity in small ensemble repertoire. Ensembles will be formed using the available personnel of woodwind, brass, string, and piano students. These ensembles may include: woodwind quintet, clarinet quartet, flute quartet, brass quintets, string quartets, and other various ensembles based on the repertoire and available players. Pianists may participate based upon the availability of other instrumentalists to form piano-based ensembles.
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.