The material on this page is from the 1997-98 catalog and may be out of date. Please check the current year's catalog for current information.
Professors Scott, Anderson, Matthews, Chair, Parakilas, and Hunter (on leave, 1997-1998); Assistant Professors Williams and
Pederson; Mr. Glazer
Students majoring in music are required to take the following courses: 1) Music 271 and 272; 2) Music 231-232 and 331 332 (music theory); 3) two courses in the history and literature of music, to be selected from Music 241, 242, 243, 244, 245, 246, 247 (history), Music 252, 253, 254 (genre), Music 265 (individual composers); 4) Music 399 (Junior-Senior Seminar); 5) Music s28 (survey of Western music); and 6) Music 457 or 458 (senior project). In addition, students are required to demonstrate proficiency in basic keyboard skills. Honors candidates register for both Music 457 and 458.
Remaining requirements are designed to suit the special needs of performers, composers, and those who wish to concentrate on music history or theory. Performers take one additional year of Music 271 (lessons) and participate in both a large and a small music ensemble for two years. Composers take Music 235 (composition) and either Music 237 or an independent study in composition. History and theory students take two additional history, genre, or composer courses of their choice. Ethnomusicology students take Music 262 (Ethnomusicology: African Diaspora) and one additional ethnomusicology course of their choice. All music majors participate yearly in one of the large ensembles.
Students who wish may earn a secondary concentration in music. This secondary concentration consists of seven courses: Music 231-232, 331-332 (Music Theory I and II); two period or genre courses, drawn from among Music 241, 242, 243, 244, 245, 246, 247, 253, 254, 265; and one other course, drawn from among Music 271-272 (Applied Music), 235 (Composition), 237 (Computers, Music, and the Arts), 260 (Women and Music), 262 (Ethnomusicology: African Diaspora), or 399 (Junior-Senior Seminar). This secondary concentration may substitute for the cluster part of the humanities distribution requirement. The two remaining courses in that requirement would have to be taken in two different departments.
A reading knowledge of German or French is recommended for students planning graduate work in music.
Some private instruction in music is available for all students. Instruction is normally offered in voice (Ms. Judith Cornell, Mr. John Corrie); harpsichord (Mr. Marion R. Anderson); piano (Mrs. Natasha Chances, Mr. John Corrie, Mr. Mark Howard); jazz piano (Mr. Stephen Grover); organ (Mr. Marion R. Anderson); violin (Mr. Stephen Keckskemethy); viola (Ms. Julia Adams); violoncello (Ms. Kathleen Foster); double bass (Mr. George Rubino); oboe (Mr. Neil Boyer); bassoon (Ms. Ardith Freeman); flute (Ms. Lee Humphreys); clarinet (Ms. Carol Furman); trumpet (Mr. John Furman); trombone (Mr. Mark Manduca); French horn (Mr. Scott Burditt); saxophone (Mr. Richard Gordon); classical guitar (Mr. Kenneth Labrecque); harp (Ms. Jara Goodrich); recorder (Mr. Kerry Byrne); percussion (Ms. Nancy Smith); and drum set (Mr. Stephen Grover). Instruction may also be offered in other instruments if there is sufficient demand.
102. Composers, Performers, and Audiences. Designed for students with little or no previous experience of the subject,
this course considers the ways composers, performers, and audiences have affected one another in the history of Western
music-making. What were the employment conditions for composers? What is the relation between the composer and the
performer? What sorts of audiences have different composers addressed, and how? The lives of a small number of
composers, including Hildegard von Bingen, Johann Sebastian Bach, Ludwig van Beethoven, Clara Schumann, and Duke
Ellington serve as case studies as we address these questions, and basic musical vocabulary is introduced both at the
beginning of the course and along the way. Enrollment limited to 96.
103. Introduction to World Music. This course introduces the student to performances in selected societies of the world. The lectures and discussions use tapes, films, and live performance to enhance the student's understanding of music expression and experience. The course focuses upon ritual, festivals, life-cycle events, and concerts to explore representative cultures of Africa, Asia, the Caribbean, North America, and South America. Enrollment limited to 96. L. Williams.
231-232. Music Theory I. Beginning with a study of notation, scales, intervals, and rhythm, the course proceeds through composition and analysis of melodic forms, a study of harmonic motion, an introduction to the principles of counterpoint, and the analysis and composition of complete works from several popular and classical styles. The course includes practical ear-training and keyboard work. Regularly scheduled laboratory sessions. Prerequisite(s): a reading knowledge of music. Open to first-year students. M. Anderson, Staff.
235. Music Composition. Composition may be pursued by students at various levels of expertise and training. The course includes a weekly seminar and private lessons, and concentrates upon without being limited to contemporary idioms. Prerequisite(s): Music 232. Open to first-year students. Written permission of the instructor is required. W. Matthews.
236. The Piano as a Culture Machine. The piano has been part of the furniture of private and public life for three centuries. It has an amazingly rich repertory of its own, and it used to be the main medium for propagating every kind of music in Western culture. It was at the center of women's upbringing and at the root of the worldwide entertainment industry. A study of the development of the instrument, its music, and its role in shaping our culture. J. Parakilas.
237. Computers, Music, and the Arts. A hands-on study of music-making with computers, using the facilities of the Bates Computer Music Studio. Topics include digital synthesis, sampling, MIDI communications, simple programming, and the aesthetics of art made with computers. No computing experience is presumed, and the course is especially designed for students in the arts who wish to learn about new tools. Work produced in the course is performed in concert. Enrollment limited to 18. W. Matthews.
238. Conducting, Orchestration, Score-Reading, and Related Skills. A study of the fundamental principles of learning and preparing a musical score for performance. Analysis and orchestration. Related keyboard skills: score-reading, clef reading, transposition, the realization of figured bass. Prerequisite(s): Music 232. Open to first-year students. M. Anderson.
241. Music Literature of the Medieval and Renaissance Periods. A survey of music up to ca. 1600, beginning with an examination of sacred and secular monophony, and continuing with the emergence of polyphony in the twelfth and thirteenth centuries and its development in such forms as chanson, madrigal, mass, and motet to the end of the sixteenth century. Emphasis on works by such composers as Dunstable, Dufay, Josquin, and Palestrina. Prerequisite(s): Music 101 or 102 or 231. Open to first-year students. A. Scott.
242. Music Literature of the Baroque Period. A study of the early composers of the period as well as the two giants at its close: George Frederick Handel and Johann Sebastian Bach. Prerequisite(s): Music 101 or 102 or 231. Open to first-year students. Staff.
243. Music Literature of the Classic Period. Beginning with the music of such preclassic composers as the sons of J. S. Bach, Stamitz, and D. Scarlatti, the study moves to works of Haydn, Mozart, and early Beethoven. Analysis of form and harmony. Prerequisite(s): Music 101 or 102 or 231. Open to first-year students. Staff.
244. Music Literature of the Romantic Period. A study of nineteenth-century piano music, song, orchestral music, and opera, concentrating on the Chopin Preludes, Schubert songs, a Brahms symphony, and Bizet's Carmen. Prerequisite(s): Music 101 or 102 or 231. Open to first-year students. Staff.
245. Music Literature of the Twentieth Century. From Debussy and the expressionistic compositions of Schönberg through the development of twelve-tone techniques. Prerequisite(s): Music 101 or 102 or 231. Open to first-year students. Staff.
246. American Music: A Tradition of Revolution. The history of American music is typified by musicians in conscious revolt against their cultural milieu. Charles Ives, Charlie Parker, Ruth Crawford, Chuck Berry, John Cage, and Pauline Oliveros are examples. Music from popular, jazz, and cultivated traditions of the United States is studied, from the eighteenth century to the present. Prerequisite(s): Music 101 or 102 or 231. Open to first-year students. Enrollment limited to 96. Staff.
247. Jazz and Blues: History and Practice. American jazz and blues offer two rich traditions through which one can study music, race, and American history. Through extensive listening, reading assignments, and interaction with musicians themselves, students study the recorded history and contemporary practice of jazz and blues. Not open to students who have received credit for Music s26. Prerequisite(s): Music 101 or 102 or 103 or 231. Enrollment limited to 96. Staff.
249. African American Popular Music. When Americans stared into their black and white television sets in the early 1950s, they saw only a white world. Similarly with music, variety shows primarily spotlighted the talent of white performers. Change came slowly, and during the late 1950s American Bandstand introduced viewers to such African American artists as Dizzy Gillespie and Chubby Checker. Over the last two decades, however, the emergence of music videos has created the need for a critical and scholarly understanding of the emerging forces of African American music, dance, and drama in the United States from the 1950s to the present. This course is the same as African American Studies 249. Open to first-year students. L. Williams.
252. The Concerto. The development of the concerto from its origins in the seventeenth century to the twentieth century. Consideration of the historical context is combined with close analysis of several works. Prerequisite(s): Music 101 or 102 or 231. Open to first-year students. Staff.
253. The Symphony. A survey of the symphony, tracing its development from the eighteenth century to the present. Emphasis is on analysis of individual works and examination of their relation to the historical context. Prerequisite(s): Music 101 or 102 or 231. Open to first-year students. Staff.
254. Music and Drama. How do music and drama go together, and how are the possible relationships between them exploited in different media? This course is a study of dramas which use music, principally operas. Works are heard and seen on records and videocassettes, and the class may attend an opera performance in Boston or Portland. Gender issues pertaining to all phases of opera are discussed throughout the course. Term projects may include productions and performances of music-theatrical works or excerpts. Prerequisite(s): Music 101 or 102 or 231. Open to first-year students. J. Parakilas.
260. Women and Music. Through a concentration on American women musicians of the twentieth century (including, but not limited to, Laurie Anderson, Amy Beach, Aretha Franklin, Billie Holiday, Bessie Smith, and Joan Tower), this course addresses the variety of contributions that women make to music and considers how feminist aesthetics relate to music. Recommended background: basic ability to read music and some capacity to use musical vocabulary, or one or more women's studies courses. Open to first-year students. Staff.
262. Ethnomusicology: African Diaspora. This introductory course is a survey of key concepts, problems, and perspectives in ethnomusicological theory drawing upon the African diaspora as a cross-cultural framework. This course focuses on the social, political, and intellectual forces of African culture that contributed to the growth of ethnomusicology from the late nineteenth century to the present. This course is the same as Anthropology 262 and African American Studies 262. Open to first-year students. Enrollment limited to 25. L. Williams.
265. Great Composers. A study of the works of one composer, such as Bach, Mozart, Beethoven, Brahms, or Stravinsky. Prerequisite(s): Music 101 or 102 or 231. Open to first-year students. A. Scott, F. Glazer.
271-272. Applied Music I. An exploration of the literature for voice or solo instruments through weekly private instruction. Problems of performance practice, style, and form are emphasized equally with the building of technique. One course credit is granted upon completion of two consecutive semesters of lessons. Corequisite(s): one additional course in music to be taken during the year in which Music 271-272 is taken for credit. Students enrolled in this course are expected to participate in a College- sponsored musical organization. A special fee is charged for this course. Open to first-year students. Written permission of the Department Chair is required. W. Matthews.
273-274. Applied Music II. A continuation of Music 271-272. An exploration of the literature for voice or solo instruments through weekly private instruction. Problems of performance practice, style, and form are emphasized equally with the building of technique. One course credit is granted upon completion of two consecutive semesters of lessons. Corequisite(s): one additional course in music to be taken during the year in which Music 273-274 is taken for credit. Students enrolled in this course are expected to participate in a College-sponsored musical organization. A special fee is charged for this course. Prerequisite(s): Music 272. Open to first-year students. Written permission of the Department Chair is required. W. Matthews.
275-276. Applied Music III. A continuation of Music 273-274, intended for students who have demonstrated a high degree of technical proficiency and commitment to the discipline of performance. Public performance will be required of each student enrolled in this course. One credit is granted upon completion of two consecutive semesters of lessons. Prerequisite(s): Music 274; permission of the Department Chair, upon recommendation from the Applied Music instructor; and one additional course in music to be taken in the year in which Music 275-276 is taken for credit. Students enrolled in this course are expected to participate in a College-sponsored musical organization. A special fee is charged for this course. W. Matthews.
277-278. Applied Music IV. A continuation of Music 275-276, intended for students who have demonstrated a high degree of technical proficiency and commitment to the discipline of performance. Public performance will be required of each student enrolled in this course. One credit is granted upon completion of two consecutive semesters of lessons. Prerequisite(s): Music 276; permission of the Department Chair, upon recommendation from the Applied Music instructor; and one additional course in music to be taken in the year in which Music 277-278 is taken for credit. Students enrolled in this course are expected to participate in a College-sponsored musical organization. A special fee is charged for this course. W. Matthews.
331-332. Music Theory II. A continuation of Music 231-232 emphasizing chromatic harmony, four-voice textures, tonal sonata forms, Schenkerian analysis, and the non-tonal styles of the twentieth century. Students compose music in several forms and styles, and continue practical ear-training and keyboard work. Regularly scheduled laboratory sessions. Prerequisite(s): Music 232. J. Parakilas, M. Anderson.
334. Counterpoint. A study of the contrapuntal practice of composers of the sixteenth and twentieth centuries through written exercises and analysis. Prerequisite(s): Music 232. Staff.
360. Independent Study. Independent study of individually selected topics. Periodic papers and conferences are required. Permission of the Department is required. Students are limited to one independent study per semester. Staff.
365. Special Topics. A course or seminar offered from time to time and reserved for a special topic selected by the Department. Staff.
399. Junior-Senior Seminar in Analysis. Intensive analytical study for advanced students. Students either consider a single compositional or theoretical principle (e.g., sonata form, Schenker's theory) across a variety of musical styles or approach a smaller range of music with various analytic techniques. The particular topic varies from year to year according to the needs and interests of students and teacher. Prerequisite(s): Music 332. Staff.
399A. Schubert. The course addresses three aspects of this much-loved composer. Schubert is primarily known
as a song composer, and we begin by examining some of his songs, especially his approach to text-setting.
How does his music comment on the words of his poems? He also composed a large body of instrumental
music. What are its distinguishing characteristics? What are the best ways to analyze it? Schubert's biography
especially his sexuality has stirred up much recent discussion. What is the nature of the debate? What
difference does it make to our understanding of his music? 1997 is the 200th anniversary of Schubert's birth,
and the course includes a number of trips to live performances in Maine. Prerequisite(s): Music 331. Staff.
Short Term Units
s21. Film Music. While usually "unheard," the musical background of a film nevertheless performs an important role in establishing mood and character, enhancing the emotional impact of a scene, providing through association a geographical and historical context, revealing underlying psychological states that contradict or counterpoint the diegetic discourse exhibited on the screen, and creating structural continuity. This unit surveys the function of the motion-picture soundtrack from the days of silent film to the present. Open to first-year students. A. Scott.
s22. Analysis and Interpretation. In order to perform intelligently, the performer must form his or her decisions on phrasing, tempo, dynamics, and articulation through a thorough understanding of the individual work. The unit involves structural analysis of selected works, examination of the stylistic contexts to which they belong, historical study of the appropriate performance practices, and consideration of various more general performance issues. The unit culminates in a performance based on this study. Prerequisite(s): an ability to perform. Written permission of the instructor is required. M. Anderson.
s23. Drumming in West Africa: Rhythm, Texture, and Flow. This unit is comprised of drum-making and drumming techniques, focusing on theories of Mandinka rhythm as expressed through drumming, singing, and dancing. Additional unit topics include performance cues, rhythmic communication, language analysis, and drum-speech connections. Cultural features such as the musician's role as oral historian, spirituality and its relationship to music, and gift-giving provide contextual depth to enhance the students' understanding of drumming. The goal of the unit is to give students a theoretical framework that will enable them to understand selected West African multi-part drum ensembles using the sabaroo, kutiiribaa, and junkurandingo drums. Open to first-year students. Enrollment limited to 15. L. Williams.
s24. Hollywood's Dreams of Genius. The primary materials for this unit are films like Amadeus, Immortal Beloved, Impromptu, Lady Sings the Blues, Thirty-Two Short Films about Glenn Gould, and others, that depict the lives of musicians. What do these films say about the nature of genius? How do gender and race figure in these films' portrayals of preternatural musical abilities? What are we being asked to believe about a life in music (and why is good health such a rare commodity in these portrayals)? Each film is paired with at least one nonfictional source about the musician in question: the point of the comparison is not to debunk the films, but to examine the different layers of truth and untruth in different media, and the needs fulfilled by both. Open to first-year students. Staff.
s28. Survey of Western Music. A survey of Western music from ca. A.D. 1000 to the present. Compositions are studied chronologically and within their cultural context. Extensive listening assignments provide material for daily class lectures and discussion. Required of all majors. Open to first-year students. J. Parakilas, W. Matthews.
s29. American Musicals on Film. From The Jazz Singer of 1927 to Purple Rain of 1984, American musicals on film have been remarkably reflexive: "show business about show business." On closer analysis, they provide us with fascinating clues about American popular taste and our culture in general. The unit examines twenty-three films and includes the videotaping of a class production. Staff.
s50. Individual Research. Registration in this unit may be granted by the Department only after the student has submitted a written proposal for a full-time research project to be completed during the Short Term and has secured the sponsorship of a member of the Department who agrees to direct the study and evaluate the results. Students are limited to one individual research unit. Staff.