Course Descriptions | Music

MUSC 110 The Language of Music
An introductory study of music as a language with its own vocabulary and syntax. Students are involved in both creative musical experiences and active listening in representative works from a wide range of musical styles. The emphasis is on music as communication.

MUSC 111 Introduction to Electroacoustic Music Composition (Gen. Ed. Domain I-A)
An introduction to the hardware, software and techniques involved with composing, editing and producing original electroacoustic music. The primary goal is to gain facility in using a modern recording/production studio for creative purposes. Such skills include a working knowledge of how to use a mixing console, proper microphone usage, and file management in a digital studio. The student also gains software experience in sound editing, composition, sequencing, mixing, synthesis and virtual instrument design. Most importantly, the student utilizes these tools to create original compositions. 

MUSC 121 Music Appreciation (Gen. Ed. Goal 5; Domain I-B)
Introductory study of music as a communicative art. The course covers the major vocal and instrumental forms (e.g., opera, oratorio, symphony, and concerto) as they occur in stylistic periods from the seventeenth century through the twentieth century.

MUSC 125 Chorus
A course in which students sing choral music from the past and present in a variety of vocal styles. This course is an introduction to the analysis of rhythm, harmony, melody, phrasing, dynamics, and timbre as it relates to and informs choral performance. Students earn a grade of P (pass) or F (fail). To earn credit for one course (one- course credit) for Chorus, students must complete four semesters of Chorus at Framingham State University as a chorus member in good standing. The four semesters at FSU need not be taken sequentially. At the time of registration, students may select Chorus as a fifth course.

MUSC 141 American Musics
An introductory study of the diverse musical traditions that form the American heritage. Examining performance in its cultural setting, this course surveys music of the colonial period, Anglo and African- American folk musics, popular forms of the 19th and early 20th centuries, jazz, blues, rock music, indigenous and immigrant styles, and composers in the Western classical tradition.

MUSC 151 The History and Literature of Jazz (Gen. Ed. Goal 5; Domain III-C)
An introduction to the vast expanses of the jazz idiom from both a musical/aesthetic and socio-historical standpoint. The course examines the roots of jazz, its influence upon serious and rock music, and the contributions of major innovative figures including Louis Armstrong, Benny Goodman, Dizzy Gillespie, Art Tatum, and John Coltrane. Listening experiences better enrich the student’s understanding of stylistic trends such as ragtime, blues, boogie- woogie, dixieland, swing, bebop, and third stream.

MUSC 171 World Music Cultures
(Gen. Ed. Goals 5, 11; Domain III-C)
An introductory survey of selected non-Western musical traditions, including those of Asia, Latin America, Oceania, Africa, and Native America. Topics include song and dance styles, musical instruments, social context and function of performance genres, musical structure, traditional versus contemporary music, and aesthetic principles.

MUSC 201 Theory I: Materials of Music (Domain II-A)
A study of scale construction, intervals, syllables, numbers, clefs, rhythms, and elements of form. Ear-training sight-singing, and dictation are stressed. An introduction to harmony.

MUSC 202 Theory II: Harmony
Basic chordal structures, inversions, progressions and non-harmonic tones. Dominant seventh and extended chords in root position and inversions. Modulation to closely related keys. Keyboard harmony and ear-training.

MUSC 205 Music of the Romantic Period (Gen. Ed. Goal 5; Domain III-A)
A music listening course focusing on a broad range of music from the nineteenth century. Both “program music” (program symphony, concert overture, and tone-poem) and “absolute music” (symphony, concerto, string quartet) are studied, as well as opera and the short lyric forms (character piece for piano and the art song).

MUSC 206 Music of the Twentieth Century (Gen. Ed. Goal 5; Domain I-B)
A survey of twentieth-century classical music and composers, covering the roots of modernism in impressionism and postromanticism through developments in atonality, chance music, serialism, nationalism, quotation music, minimalism, electronic, and computer music.

MUSC 209 From Bach to Beethoven (Gen. Ed. Goal 5; Domain III-A)
A focus on the four major composers of the eighteenth century: J.S. Bach, Handel, Haydn, and Mozart. Students study the music of each composer in the context of his life and times. The course has particular relevance for students interested in the history of ideas and music.

MUSC 212 Music, Dance and Ritual in the Pacific (Gen. Ed. Goals 5, 11; Domain III-C)
A study of selected performance traditions from the indigenous cultures of the Pacific Islands and Australia, approaching music and dance as expressive arts situated in their cultural context. Topics include musical forms and genres, functions of performance in traditional and contemporary life, musical instruments, and aesthetics. The course will also examine how performance reflects cultural adaptations to outside influences such as missionary and government bodies, imported technologies, and events of worldwide importance (e.g. World War II, atomic testing).

MUSC 220 Women in Music (Gen. Ed. Goals 5, 12; Domain III-C)
A cross-cultural survey of the musical contribution of women which examines their roles as performers, composers, and patrons of arts. Topics range from women in Western classical music, blues, and jazz - including Hildegard von Bingen, Clara Schumann, Bessie Smith, and Billie Holiday - to non-Western musical performers such as the Japanese Geisha and the Javanese singer.

MUSC 235 History of Rock Music (Gen. Ed. Goal 5; Domain I-B)
An introduction to the history and evolution of rock styles from their mid-twentieth century origins in pop, country, and the blues to the present. The course will include stylistic analysis and critical listening, as well as discussion of the technological, social, and political issues that play a role in rock music history.

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