Spring 2022 Undergraduate Courses

MUSI 1310 Basic Musical Skills

3.0 credits

Section 1 (Justin Mueller): MWF / 9:00-9:50 am / OCH 107
Class Number: 19127

Section 2 (Ben Rous): MWF / 10:00-10:50 am / OCH B012
Class Number: 19128

Section 3 (Justin Mueller): MWF / 10:00-10:50 am / OCH 107
Class Number: 19223

Study of the rudiments of music and training in the ability to read music. Prerequisite: No previous knowledge of music required.

MUSI 1410 Symphonic Listening

Ben Rous
3.0 credits
MWF / 11:00-11:50 / OCH B012
Class Number: 19234

Discussion Sections:

Section 101 (Omar Fraire): R / 9:30-10:20 am / OCH S008
Class Number: 19235

Section 102 (Omar Fraire): R / 11:00-11:50 am / OCH S008
Class Number: 19236

Section 103 (Omar Fraire): R / 12:30-1:20 pm / OCH S008
Class Number: 19237

Symphonic Listening focuses on the sounds and forms of symphonic music. Listening skills are emphasized, with no prior musical knowledge required. We will learn to recognize orchestral instruments by their timbre, discern levels of consonance and dissonance, identify types of textures, and think critically about how musical content expresses cultural context. Students will gain a framework for understanding symphonic music of any genre.

MUSI 1620 History of the Wind Band

Drew Koch
2.0 credits
TR / 11:00-11:50 am / Hunter Smith Band Building
Class Number: 20406

 

MUSI 2090 Sound Studies: The Art and Experience of Listening

Noel Lobley
3.0 credits
MW / 2:00-3:15 pm / Wilson 142
Class Number: 13320

When we think about knowing the world through the senses, we are likely to think first of the visible world. But sound, hearing and listening are crucial too and often take precedence in many communities. Recently scholars in history, anthropology, geography, literary studies, acoustics, music, ecology, environmental science,  and art have come together in the field of Sound Studies, reflecting on the role of sounds as forces that flow in and beyond human life. How do sound art, technology, and design create the world we inhabit and our everyday social and political experience? How can vibrations both heal and destroy? What does it mean to experience immersive and embodied sound? We will ponder these and other questions, moving between theoretical, experiential, and creative explorations. 

Please note: this course is an introduction to Sound Studies, there is no pre-requisite, and students from all backgrounds, levels and experiences are welcome to come and explore myriad ways to engage with sound.

MUSI 2120 History of Jazz

Scott DeVeaux
3.0 credits
Section 100: MW / 2:00-2:50 / Wilson 402
Class Number: 20415

Discussion Sections:

Section 101 (Corey Harris): T / 9:30-10:20 am / OCH 107
Class Number: 20416

Section 102 (Corey Harris): T / 11:00-11:50 am / OCH 107
Class Number: 20417

Section 103 (Corey Harris): T / 12:30-1:20 pm / OCH 107
Class Number: 20418

Section 104 (Siavash Mohebbi): R / 9:30-10:20 am / OCH 107
Class Number: 20419

Section 105 (Siavash Mohebbi): R / 11:00-11:50 am / OCH 107
Class Number: 20420

Section 106 (Siavash Mohebbi): R / 12:30-1:20 pm / OCH 107
Class Number: 20421

Section 107 (Katie King): T / 9:30-10:20 am / OCH S008
Class Number: 20422

Section 108 (Katie King): T / 11:00-11:50 am / OCH S008
Class Number: 20423

Section 109 (Katie King): T / 12:30-1:20 am / OCH S008
Class Number: 20424

Survey of jazz music from before 1900 through the stylistic changes and trends of the twentieth century; important instrumental performers, composers, arrangers, and vocalists. No previous knowledge of music required.

MUSI 2302 Keyboard Skills (Beginning)

2.0 credits, instructor permission

Section 1 (John Mayhood): TR / 12:30-1:45 pm / OCH 113
Class Number: 10618

Section 2 (John Mayhood): TR / 9:30-10:45 am / OCH 113
Class Number: 20901

ntroductory keyboard skills; includes sight-reading, improvisation, and accompaniment at the keyboard in a variety of styles. No previous knowledge of music required. Satisfies the performance requirement for music majors.

MUSI 2304 Keyboard Skills (Intermediate)

John Mayhood
2.0 credits, instructor permission
TR / 11:00 am - 12:15 pm / OCH 113
Class Number: 10619

Intermediate keyboard skills for students with some previous musical experience. Satisfies the performance requirement for music majors. Restricted to: Instructor permission by audition.

MUSI 2307 Play Guitar!

Mike Rosensky
2.0 credits, instructor permission
MW / 1:00-1:50 pm / OCH B012
Class Number: 19119

Fundamentals of playing the guitar: left and right hands, chords, strumming, and scales. We'll also incorporate rhythmic training, music theory, song form, pop/rock styles and accompanimental textures. A new course designed to improve guitar performance.

Please give a brief description of your guitar experience when you request instructor permission. I will contact students on my permissions list shortly after registration ends.

Students must provide their own guitar.

MUSI 2340 Learn to Groove

Robert Jospe
2.0 credits

MW / 10:00-10:50 am / OCH B018
Class Number: 11248

"Learn to Groove" hand drumming and rhythmic fluency with Robert Jospe. This is a hands on drumming/percussion class using congas, djembes, claves, shakers, etc. This class is designed to enhance ones knowledge of syncopated patterns associated with jazz, rock, African and Latin American music and to improve ones facility in playing these patterns. This course will follow my book "Learn To Groove" and can include music students, non music students and is open to students of all skill levels. The course requires that students have or purchase a hand drum of their own. Congas, bongos, djembes, doumbeks or any other hand drums are appropriate.

MUSI 2342 Learn to Groove Intermediate

Robert Jospe
2.0 credits
MW / 11:00-11:50 am / OCH B018
Class Number: 11641

"Learn to Groove" hand drumming and rhythmic fluency with Robert Jospe. This is the intermediate level of the class. It is a hands on drumming/percussion class using congas, djembes, claves, shakers, etc. This class is designed to enhance ones knowledge of syncopated patterns associated with jazz, rock, African and Latin American music and to improve ones facility in playing these patterns.

MUSI 2559 New Course in Music
Topic: Popular Music Group Voice Class

Section 1 (Stephanie Nakasian): TR / 11:00-11:50 am / OCH B012
Class Number: 19111

This new class led by internationally celebrated jazz touring and recording artist singer Stephanie Nakasian will offer a fun, no pressure singing experience in popular music (pop, rock, jazz, theater, r&b, gospel, singer-songwriter, folk...).

With exercises to help you improve tone, intonation, range, breath, power and flexibility, you will learn to develop your repertoire – finding the right keys, tempos and arrangements for songs of your choosing.

With tips on phrasing, rhythm and improvisation and some easy basics of sight reading, piano and theory, you will also get tips on performance and marketing.

Take your singing from warmup to the stage.  Enjoy the experience of singing with others and realizing that everyone's in the same boat with the same fears and frustrations.

An empowering and fun class of sharing music.  Come and sing your song – in the group or on your own.

No pre-requisites or audition required.

MUSI 2559 New Course in Music
Topic: Creative Discovery

Section 2 (Elliott Tackitt): TR / 1:00-1:50 pm / Hunter Smith Band Building
Class Number: 20407

This course focuses on creative recovery and discovery, expanding expressive potential through movement with focus on awareness, availability, balancing, and being in flow, and exploring techniques that may improve learning experiences. Julia Cameron’s The Artist’s Way provides a weekly topic on which students focus their self-reflection and in-class discussion. Jerald Schweibert’s Physical Expression and the Performing Artist provides a framework for expression and movement from an artist’s perspective, which may help students discover new performance potential as an artist. Csikszentmihalyi’s Flow theory will be considered alongside additional readings.

MUSI 2600 Jazz Improvisation

John D'earth
3.0 credits
TR / 3:30-5:00 pm / OCH B012
Class Number: 10950

The Jazz Improvisation Workshop explores the basic techniques and procedures for improvising in jazz and other musical contexts. No previous jazz or improvising experience is required but students must demonstrate a degree of fluency on their main instrument, an ability to read music and some familiarity with the basics of music theory. An individual interview/audition with the instructor is required before registering for this class.

MUSI 2993: Independent Study

1.0 - 3.0 credits
Instructor permission and instructor number required to enroll.

MUSI 3010 Studies in Early Modern Music (1500-1700)

Bonnie Gordon
3.0 credits
TR / 2:00-3:15 pm / OCH 107
Class Number: 19074

When Christopher Columbus arrived in modern day Trinidad in 1498, he attempted to communicate with indigenous people using tambourines. He thought this would be enticing. It didn’t work. “On observing the music and dancing, however, they dropped their oars, and picked up their bows, and strung them. Each one seized his shield, and they began to shoot arrows at us.”

This class uses sound to explore unexpected encounters in the premodern world. Course materials focus on a selection of exemplary pieces, listening to composition, improvisation, text-music relations, the representation of dramatic stories, the expression of religious ideas, and performance. This is a class about how to do history, how to listen, and how to imagine the sonic past. What was it like to listen to music in a world before car alarms and amplified sound? What were the technological equivalents of headphones and MP3s?

Geographically, the class centers on Western Europe and Jamestown, Virginia. It takes a global perspective and explores the role of sound in the deep histories of white supremacy in forming the bricks and mortar of music performance and scholarship in the United States.  Chronologically, we will pivot around the turn of the seventeenth centaury, a moment of overwhelming uncertainty, fantastic creative energy, and sometimes violent debates about truth. Course work will include reading, writing, listening, visits to special collections, and reflection.

The course is taught at the music major level. Majors and non-majors are welcome. There are no prerequisites, and knowledge of Western music notation is not required.

MUSI 3030 Studies in 19th-Century Music

Elizabeth Ozment
3.0 credits
MW / 3:30-4:45 / OCH B012
Class Number: 13341

How does one define 19thCE music? Can you imagine attending the premiere of a Beethoven symphony or Rossini opera? Why were so many people taking piano lessons? How did music intensify feelings of community and difference? What is the purpose of music?

In this seminar, we will begin to answer the above questions by overviewing the creative, cultural, social, intellectual, musical history of Europe during the long nineteenth century, the period in-between the French Revolution and the outbreak of the First World War. This era saw the dissolution of previous ways of understanding the world and the development of new ideologies and artistic movements. Nineteenth-century music intersected with the rise of historicism, nationalism, romanticism, liberalism, socialism, feminism, industrialization, and secularization; reflecting and informing European experiences and worldviews.

In this seminar we will strengthen our critical listening skills, place compositions in historical context, and relate these sounds to broader cultural trends. Our study of historical documents will highlight some common themes that distinguish this period of European music from eighteenth- and twentieth-century trends. We will also acknowledge that this music frequently articulated contradictory aesthetics, thereby illuminating period struggles over the purpose and value of artistic expression.

MUSI 3050 Music and Discourse

3.0 credits
Justin Mueller
MWF / 1:00-1:50pm / OCH 113
Class Number: 13342

Studies the range of music that has flourished in the twentieth century, including modernist and post-modern art music, popular music, and world music, through historical, critical, and ethnographic approaches.

MUSI 3307 Play Guitar! 2

2.0 credits
Mike Rosensky
MW / 2:00-2:50 pm / OCH B012
Class Number: 20770

The course will have flexibility from semester to semester depending on the makeup of the class.  Topics may include: Bar Chord/Power Chord Refresher, (Advanced) Syncopated Strumming, Blues Form, Three-Note Major and Minor Triads up and down the fretboard, Pentatonic Scale Positions, Major Scale Positions, Scale Patterns, Song Analysis, Composition, Improvisation, Seventh Chords, Chords of Higher Tension, Funk Grooves, Introduction to Jazz Guitar.

MUSI 3310 Theory I

3.0 credits
Scott DeVeaux
MWF / 11:00-11:50 am / OCH 107 
Class Number: 11645

Studies pitch and formal organization in European concert music of the 18th and 19th centuries. Includes four-part vocal writing, 18th-century style keyboard accompaniment, key relations, and form. Students compose numerous short passages of music and study significant compositions by period composers.

MUSI 3320 Theory II

Fred Maus
3.0 credits
MWF / 12:00-12:50 pm / OCH 113
Class Number: 12007

Studies pitch and formal organization in European concert music of the 18th and 19th centuries. Includes four-part vocal writing, 18th-century style keyboard accompaniment, key relations, and form. Students compose numerous short passages of music and study significan compositions by period composers.

MUSI 3321 Music Theory for Popular Music

3.0 credits
Fred Maus
MW / 2:00-3:15 pm / OCH 113
Class Number: 20176

 

MUSI 3332 and 3334 Musicianship I and II

2.0 credit

These lab courses give practical experience with many aspects of musical perception, performance, and creation. These will include sight-reading and sight-singing; dictation of melody, rhythm, and harmony; aural identification of intervals, chords, and rhythmic patterns; and exercises in musical memory and improvisation. Lectures, dictations, exercises, and quizzes will be in person on Mondays and Wednesdays. Singing and rhythm practice will be online on Fridays, and most homework assignments will also be completed online. Please contact Prof. Adam Carter with questions or concerns.

MUSI 3332 Musicianship I

Section 1 (Adam Carter): MWF / 12:00-12:50 pm / OCH 107
Class Number: 10321

Section 2 (Varun Kishore): MWF / 12:00-12:50 pm / OCH S008
Class Number: 20999

MUSI 3334 Musicianship II

Rachel Gibson
MWF / 12:00-12:50 pm / OCH B012
Class Number: 10322

MUSI 3342 Learn to Groove Advanced

Robert Jospe
2.0 credits
MW / 1:00-1:50 pm / OCH B018
Class Number: 13909

AdvancedLearn To Groove is offered to students who are majoring in music and/or currently playing in percussion ensembles, the orchestra, the marching band and/or have taken and done well in Learn To Groove MUSI 2342. This course is designed for students to gain a broad understanding and facility through hand drumming of the rhythmic language associated with West and Central African, Caribbean, Brazilian, and contemporary styles of jazz, rock and funk from the United States. Students who take this course will be able articulate rhythmic patterns that form the foundation of dance music played throughout the Americas as well as how West and Central African rhythms have influenced the dance music and rhythms of the Americas.

This course builds on the material from Learn To Groove 2340 and 2342 and will focus on six alternative hand patterns in 4/4 and 6/8 for the clave rhythms in the Learn To Groove course book as well as extended polyrhythms, soloing and playing in odd meters. Indian rhythms and a piece written for the Mridangam from India will also be included in the live performance. Drum circle leadership skills will also be included. This class includes a recital performance of "Groove Passage-LTG" an original composition written for the class. The performance will feature the full ensemble as well as individual solos.

The course requires that students have a hand drum of their own as well as the course book Learn To Groove. 8"-12" Djembes are recommended.

MUSI 3350 Deep Listening

Fred Maus
1.0 credit
W / 11:00-11:50 am 
Class Number: 13787

Exploration of collective activities that involve listening and making sound together, and other interactions, at the intersection of music-making and contemplative practices, drawing on the work of Pauline Oliveros, the Fluxus artists, and other musicians and thinkers. Weekly reading assignments for conceptualization in relation to the experiential component; weekly email responses to readings along with several brief reflective papers.

MUSI 3374 Composing Mixtapes

A.D. Carson
3.0 credit
TR / 9:30-10:45 am / NCH 398
Class Number: 13343

Discussion Sections:

Lab 101 (Brian Lindgren): M / 9:00-9:50 am / NCH 398
Class Number: 12835

Lab 102 (Brian Lindgren): M / 10:00-10:50 am / NCH 398
Class Number: 13344

Lab 103 (Brian Lindgren): M / 11:00-11:50 am / NCH 398
Class Number: 13345

 

MUSI 3376 Make Beats

Ted Coffey
3.0 credits
TR / 2:00-3:15 pm / OCH 113 
Class Number: 20178

 

MUSI 3390 Introduction to Computers and Music

TBA
3.0 credits
TR / 12:30-1:45 pm / OCH B012
Class Number: 20182

Discussion Sections:

Lab 101 (Matias Vilaplana): W / 9:00-9:50 am / OCH B011
Class Number: 20183

Lab 102 (Matias Vilaplana): W / 10:00-10:50 am / OCH B011
Class Number: 20184

Lab 103 (Matias Vilaplana): W / 11:00-11:50 am / OCH B011
Class Number: 2018t

Introduction to Music and Computers in an upper-level introductory course in music technology. Students gain theoretical, historical and practical knowledge of electronic and computer music. An emphasis is placed on creative hands-on experience composing computer music. Theoretical topics include acoustics, recording, digital audio, MIDI, sound synthesis, and audio DSP. Students learn skills in sound-file editing, multitrack sound mixing, sound synthesis, and sound processing. This is a composition class and key assignments are creative in nature.

Prerequisite: MUSI 3310. The course can be repeated for credit with approval of instructor.

MUSI 3400 Ecoacoustics

Matthew Burtner
3.0 credits
Lecture: TR / 2:00-3:15 / OCH B012
Class Number: 20179

 

MUSI 3510 Music and Community Engagement
Topic: Amplified Justice

Bonnie Gordon and Nomi Dave
3.0 credits
TR / 9:30-10:45 am / NCH 042
Class Number: 20187

This yearlong community engaged course explores the connections between sound, voice, and claims for justice. What does justice mean, evoke, and promise for different people in particular times and places? How are justice claims made outside of the legal system and in everyday life, through stories, political actions, and art? What are the voices and narratives that are often left out of formal, disciplinary proceedings? Social media, mainstream news, and television show us how legal proceedings often silence stories. On the other hand, artists and activists amplify voices to incite change. This class digs into the dissonance between these voices and ways of hearing. The class exposes students to a range of research and engagement methods that work toward equitable community partnerships, and teaches students to think intentionally of the role of creative practice in redressing inequity. Students will have the opportunity to work with community partners and engage in creative practice. The class is connected to the new Sound Justice Lab. Prior musical experience is not necessary.

This is a year-long course through the College’s Civic & Community Engagement Program. Students are not permitted to enroll for just one semester.

MUSI 3993 Independent Study

1.0-3.0 credits
Instructor permission and instructor number required to enroll.

4523 Issues in Ethnomusicology
Topic: Electronic Music in Africa

Noel Lobley
3.0 credits
MW / 9:30-10:45 1m / Wilson 142
Class Number: 12200

In 2018, the renowned British music journal Fact boldly claimed that “the world’s best electronic music festival is in Uganda.” Indeed, African cities have long been places for some of the most futuristic music, sounds that reverberate between local identities and international avant-garde scenes. Explosive, hypnotic and ultra-modern electronic sounds meld stunning dance forms with musical theatre and fashion, articulating the urban youth experience in cities as diverse and vibrant as Johannesburg, Nairobi, Kinshasa, Lagos, Dar es Salaam, and Kampala.

In this course, we will engage multiplex genres of electronic music from the African continent, including Congolese congotronics, Ugandan acholitronix, Tanzanian singeli, and South African shangaan electro and gqom apocalyptic bass music, paying close attention to innovations in artistic practice, remix culture and Afrofuturism. Blending critical and contextual work with exciting opportunities for real world outputs, we will be engaging with professional artists from different electronic scenes, such as the boiling Nyege Nyege collective and The Black Power Station, alongside other professional partners in music production, radio and written journalism, as well as exhibition and museum curation. As a way to open professional avenues for students, coursework will be driven towards the organization of an end of the semester multi-modal event representing in Charlottesville the electronic music bursting from the African continent. Building on each other’s interests and skills, students will all be working to imagine, design and curate this event.

No prior musical experience is required

MUSI 4543 Sound Studio

Ted Coffey
3.0 credits
R / 4:00-6:30 pm / OCH B011
Class Number: 19075

Pre-requisite: MUSI 3390, Permission of the Instructor

This upper-level seminar explores experimental techniques in sound recording, processing, mixing, and music production generally. The course assumes proficiency with DAWs, including experience using basic, commercial effects such as EQ, compression, and time-based effects. We will use MaxMSP (https://cycling74.com/products/max/) to create custom applications for playing with sound. Participants will find past experience with MaxMSP, other sound synthesis software languages, and-or programming / scripting languages helpful; however, willingness to embrace MaxMSP and thinking algorithmically will suffice. Beyond this technological focus, we will look at the role of instrumental performance in sound design — particularly experimental and so-called extended technique. Listening and reading assignments will complement weekly creative projects. Creative work will culminate in a final portfolio of sound design and songs.

MUSI 4559 New Course in Music
Topic: Photosonic Composition

Alex Christie
3.0 credits
MW / 2:00-3:15 pm / Wilson 141
Class Number: 19261

Photosonic Composition examines the theory, history, and practice of creating interactive music and intermedia art through the use of light and sound. Students explore creative practice (building photosonic instruments and composing new pieces), theoretical study (engaging with a repertoire of compositions and investigating human-technology interactions), and the development of technological skills (basic coding in Arduino and Max, basic analog circuit design, and building instrument enclosures in a makerspace). Some experience with the Max programming environment will be helpful, but is not required. This class focuses on creative projects and culminates in the performance/presentation of students’ original photosonic compositions.

4582 Composition II

TBA
3.0 credits
TR / 9:30-10:45 / OCH B011
Class Number: 20181

MUSI 4582 is an upper-level music composition course. Students will receive a combination of individual lessons and group sessions. The course will provide a forum for students to listen, discuss, workshop, develop, and explore inspirations, compositions, and ideas. Over the course of the semester, students are expected to compose a large-scale work or a series of smaller works in the style of their choosing. Students may compose electronic, acoustic, or electroacoustic music. The course may be repeated for credit with approval of the instructor.

Prerequisite: Students are expected to have some prior composition experience and should be comfortable with standard music notation or DAWs. While not required, it is recommended that students have taken MUSI 3370, 3380, 3390, participated in UVA’s Composers Collective, or taken another music composition course prior to taking MUSI 4582.

4760 Choral Conducting II

Michael Slon
3.0 credits
Lecture: MW / 2:00-3:15 pm / OCH 107
Class Number: 13348

 

MUSI 4993 Independent Study

1.0-3.0 credits
Instructor permission and instructor number required to enroll.

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UVA Department of Music
112 Old Cabell Hall
P.O. Box 400176 Charlottesville, VA 22904-4176

Email: music@virginia.edu