This class examines the ways humans experience the realm of sound and how perceptions and technologies of sound emerge from cultural, economic, and historical worlds. In addition to learning about how environmental, linguistic, and musical sounds are construed cross-culturally, students learn about the rise of telephony, architectural acoustics, and sound recording, as well as about the globalized travel of these technologies. Questions of ownership, property, authorship, and copyright in the age of digital file sharing are also addressed. A major concern will be with how the sound/noise boundary has been imagined, created, and modeled across diverse sociocultural and scientific contexts. Auditory examples--sound art, environmental recordings, music--will be provided and invited throughout the term.

This open textbook was created with the support of an ALG Textbook Transformation Grant. Topics include art integration, music integration, physical education / dance integration, and the theoretical foundations of arts integration in education

Chansons françaises is the integrated music component of Français interactif. Chansons features a French or Francophone song, related to each chapter's cultural or pedagogical focus, presented via audio or video. Accompanying pdfs provide additional information, as well as comprehension exercises. Songs act as a portal to various Francophone cultures and musical genres. Aural comprehension and study of lyrics afford students practice with culturally authentic text and expression. Students discover yet another reason to be passionate about studying French!

A series of progressive composition projects, culminating in a large final projecting, using various types of music hardware and software. Instruction in recording, editing, synthesis, sampling, digital sound processing, sequencing, and interactive systems. Close listening to computer and electronic music from various genres including Varese, Cage, Schaeffer, Xenakis, Lansky, Stockhausen, Tcherepnin, Barlow, Gunter, and Eno. Subject focuses on using the computer as a means of musical creativity and intuition.

Examines interactions across the Eurasian continent between Russians, Chinese, Mongolian nomads, and Turkic oasis dwellers during the last millennium and a half. As empires rose and fell, religions, trade, and war flowed back and forth continuously across this vast space. Britain and Russia competed for power over Eurasia in the "Great Game" of geopolitics in the nineteenth century, just as China, Russia, and others did in the twentieth century. Today, the fall of the Soviet Union and China's reforms have opened new opportunities for cultural interaction. Topics include: the religious traditions of Central Asian Islam, Buddhism, Christianity, and Confucianism; caravans and travelers like Marco Polo and Rabban Sauma, the first Chinese to travel to the West; and nomadic conquest and imperialist competition, past and present. Source materials include primary documents, travelogues, films, music, and museum visits.

George Arvola (1948-2016) was a guitarist and music teacher. He created his own series of guitar method books entitled Guitar Fundamentals. Volumes 2-5 of this series are based on approximately 600 pages of music manuscript by Tony Bradan (1913-1999) entitled A Learning Process for Playing the Guitar, which Tony entrusted to George. These books outline a process by which serious, dedicated students can gain:the ability to read standard notation for guitar, skill in applying efficient pick control and left hand fingering, an intimate knowledge of the guitar fretboard and flexibility in finding efficient fingerings for melodies, scales, triads, arpeggios and 3- and 4-part chords in real time, the ability to play accompaniment, the ability to play 4-part harmony, chord resolutions and voice movement, and the basics of improvisation. We are preserving this guitar method online in the hope that present and future generations of guitarists will benefit from the innovative approaches within.

George Arvola (1948-2016) was a guitarist and music teacher. He created his own series of guitar method books entitled Guitar Fundamentals. Volumes 2-5 of this series are based on approximately 600 pages of music manuscript by Tony Bradan (1913-1999) entitled A Learning Process for Playing the Guitar, which Tony entrusted to George. These books outline a process by which serious, dedicated students can gain:the ability to read standard notation for guitar, skill in applying efficient pick control and left hand fingering, an intimate knowledge of the guitar fretboard and flexibility in finding efficient fingerings for melodies, scales, triads, arpeggios and 3- and 4-part chords in real time, the ability to play accompaniment, the ability to play 4-part harmony, chord resolutions and voice movement, and the basics of improvisation. We are preserving this guitar method online in the hope that present and future generations of guitarists will benefit from the innovative approaches within.

George Arvola (1948-2016) was a guitarist and music teacher. He created his own series of guitar method books entitled Guitar Fundamentals. Volumes 2-5 of this series are based on approximately 600 pages of music manuscript by Tony Bradan (1913-1999) entitled A Learning Process for Playing the Guitar, which Tony entrusted to George. These books outline a process by which serious, dedicated students can gain:the ability to read standard notation for guitar, skill in applying efficient pick control and left hand fingering, an intimate knowledge of the guitar fretboard and flexibility in finding efficient fingerings for melodies, scales, triads, arpeggios and 3- and 4-part chords in real time, the ability to play accompaniment, the ability to play 4-part harmony, chord resolutions and voice movement, and the basics of improvisation. We are preserving this guitar method online in the hope that present and future generations of guitarists will benefit from the innovative approaches within.

" This class explores the political and aesthetic foundations of hip hop. Students trace the musical, corporeal, visual, spoken word, and literary manifestations of hip hop over its 30 year presence in the American cultural imagery. Students also investigate specific black cultural practices that have given rise to its various idioms. Students create material culture related to each thematic section of the course. Scheduled work in performance studio helps students understand how hip hop is created and assessed."

This multimedia reader examines how people use a humanities lens to make sense of what they experience, as well as share their experiences with the rest of the world. The information is presented using a pedagogical approach called reverse teaching, which introduces artifacts in their historical, social, political, personal, and other contexts. Along with the narrative, questions for creative and critical thinking prompt the reader to practice self-exploration.

This course was created specifically for the study of music, but the contents can be adapted for internships in most curricula.

Through a progressive series of composition projects, students investigate the sonic organization of musical works and performances, focusing on fundamental questions of unity and variety. Aesthetic issues are considered in the pragmatic context of the instructions that composers provide to achieve a desired musical result, whether these instructions are notated in prose, as graphic images, or in symbolic notation. No formal training is required. Weekly listening, reading, and composition assignments draw on a broad range of musical styles and intellectual traditions, from various cultures and historical periods.

This subject investigates the special relation of women to several musical folk traditions in the British Isles and North America. Throughout, we will be examining the implications of gender in the creation, transmission, and performance of music. Because virtually all societies operate to some extent on a gendered division of labor (and of expressive roles) the music of these societies is marked by the gendering of musical repertoires, traditions of instrumentation, performance settings, and styles. This seminar will examine the gendered dimensions of the music -- the song texts, the performance styles, processes of dissemination (collection, literary representation) and issues of historiography -- with respect to selected traditions within the folk musics of North America and the British Isles, with the aim of analyzing the special contributions of women to these traditions. In addition to telling stories about women's musical lives, and studying elements of female identity and subjectivity in song texts and music, we will investigate the ways in which women's work and women's cultural roles have affected the folk traditions of these several countries.

This resource is a syllabus intended for a 16-week online Music Appreciation (MUSI1306) course. 

Using the free software Supercollider, you can create create music using computer coding. This text and lesson provide instructional videos, downloadable files, and step by step instructions for coding in the unique language. SuperCollider is a platform for audio synthesis and algorithmic composition, used by musicians, artists, and researchers working with sound. It is free and open source software available for Windows, macOS, and Linux.

Welcome to Music 101.  I think you’ve made a smart choice to spend some weeks studying some of the greatest music ever written.  Consider for a moment how quickly a hit pop song passes from fashionable to forgotten.  Those of us that have been out of high school or college more years than we care to remember have certainly had the experience of hearing a favorite anthem of our youth and thinking, “Oh yeah, that song!  I’d forgotten that one.”  Think about that: the song was totally loved, then completely forgotten within a matter of just a few years.  Then consider that many of the composers that we will study have been dead for over two hundred years, and yet their music has never been forgotten and never stopped being performed and loved.  That, quite simply, is amazing.

Welcome to MUSI 1306, Music Appreciation. I think you’ve made a smart choice to spend some weeks studying some of the greatest music ever written. Consider for a moment how quickly a hit pop song passes from fashionable to forgotten. Those of us that have been out of high school or college more years than we care to remember have certainly had the experience of hearing a favorite anthem of our youth and thinking, “Oh yeah, that song! I’d forgotten that one.” Think about that: the song was totally loved, then completely forgotten within a matter of just a few years. Then consider that many of the composers that we will study have been dead for over two hundred years, and yet their music has never been forgotten and never stopped being performed and loved. That, quite simply, is amazing.

This course is an exposition of the philosophy, principles, and materials of music from the Baroque Period to contemporary period with illustrative examples from the Baroque Period, Classical Period, Romantic Period, Contemporary Classical Music and Popular Music. The course is designed to give the student an appreciation of music by exposing them to many musical styles, composers, historical trends, as well as increasing their aural, verbal and writing skills in describing music.

Music is an important part of human experience and the unending desire to express oneself in creative and imaginative ways. The purpose of this course is to help students further enhance their appreciation for music as a creative tool of the imagination, as entertainment, and as a window into who we are as social beings. Part of the course also helps students to advance their listening skills, which leads to a better understand of what music actually contains. For this purpose, the course explores western classical music; American folk, popular and religious music; along with a sampling of music from non-western cultures. Login: guest_oclPassword: ocl

Welcome to Music 1300, Music: Its Language History, and Culture. The course has a number of interrelated objectives:
1. To introduce you to works representative of a variety of music traditions.These include the repertoires of Western Europe from the Middle Agesthrough the present; of the United States, including art music, jazz, folk, rock, musical theater; and from at least two non-Western world areas (Africa, Asia, Latin America, the Caribbean, the Middle East, Indian subcontinent).
2. To enable you to speak and write about the features of the music you study,employing vocabulary and concepts of melody, rhythm, harmony, texture, timbre,and form used by musicians.
3. To explore with you the historic, social, and cultural contexts and the role of class, ethnicity, and gender in the creation and performance of music,including practices of improvisation and the implications of oral andnotated transmission.
4. To acquaint you with the sources of musical sounds—instruments and voices fromdifferent cultures, found sounds, electronically generated sounds; basic principlesthat determine pitch and timbre.
5. To examine the influence of technology, mass media, globalization, and transnationalcurrents on the music of today.
The chapters in this reader contain definitions and explanations of musical terms and concepts,short essays on subjects related to music as a creative performing art, biographical sketchesof major figures in music, and historical and cultural background information on music fromdifferent periods and places.