Global Arc

An introduction to the principles of voice leading and linear construction through a series of systematic compositional exercises. Two lectures, two classes. Prerequisite: 106 or equivalent.

An introduction to the syntactic structure of the music of the 18th and 19th centuries through exercises in analysis and composition. Two lectures, two classes. Prerequisite: 205 or equivalent.

An exploration of music for large chamber ensemble from periods rarely addressed by Princeton performing ensembles, such as Baroque, Early Classical, and recent music by Princeton undergraduates.

A continuous cycle of creation, discussion, and response based on the creative musical activity of the students. Varieties of kind and style--notated composition, multimedia music, multitracking, and improvisation--are encouraged. Prerequisite: instructor's permission. Two 90-minute classes.

This course concerns artistic collaboration--specifically, the invigorating and unruly process of two or more artists working together. Course work includes two kinds of activity: (1) analysis of seminal artistic collaborations, including examples of film, video, opera, dance, and other collaborative works that resist disciplinary categorization; and (2) active, cooperative creation of new work. From these completmentary perspectives of analysis and practice, we will consider some of the larger questions raised by interactive art-making, such as the identity of the artwork, notions of authorship, and the fluidity of disciplinary boundaries.

Whether through work songs, field hollers, spirituals, ragtime, blues, jazz, soul music, or gospel music, the African American folk music tradition is a distinct reflection of the African American experience throughout the history of America. It is the individualized approach to storytelling, the societal and cultural influences upon the artist, and the function of the music for both the artist and community that has cultivated a legacy of core musical elements, values, and performance practice that exist within these diverse styles. This course will explore these characteristics through historical inquiry and practical application.

A performance and creative course focusing on the playing of "tunes" in a variety of traditions, and the making of new tunes (tunesmithing). Tunes will be taught aurally and played together in a variety of ways, with an emphasis on style, rhythm, ornamentation, improvisation, and arrangement. Styles will include Old Time, Irish, Scandinavian, Bluegrass, and others, and will be taught primarily by a number of renowned guest musicians from around the world. Students will create new tunes, and learn relevant theory as needed. All instruments are welcome, including all bowed strings (not just violins), plucked strings, voice, and others.

An introduction to opera. Lectures deal with works by major composers, conventions of libretto poetry, singers and voice types, musical forms and dramatic pacing, and opera staging. Classes are devoted to close study of two works and the plays on which they were based. Two lectures, one class. Prerequisite: any music course, or some musical background, or instructor's permission. Open to freshmen.

A survey of vocal literature (excluding opera) from the fifteenth century to the present day. Lectures focus on representative works that illustrate historical developments in musical style, vocal texture, and text-music relationships; attention is also given to choral music's role as an institution of social engagement, an expression of collective identity, and the societal ability to rejoice, celebrate, critique, and mourn on an impersonal level.

A history of ballet from its origins in the French courts through its development into a large-scale theatrical spectacle in the 19th century and its modernist deformation. Emphasis will be placed on seminal dancers, choreographers, and composers, nationalist tradition, and socio-political context.