This course introduces students to the interdisciplinary field of sound studies by exploring how people perceive and engage with everyday sounds, especially in urban settings. Topics may include, but are not limited to noise, silence, acoustic communities, soundscapes, media, and various sound technologies.

This course examines how musical instruments shape sounds and meanings in various sociocultural and historical contexts. Examples including but not limited to indigenous drums on Turtle Island, violins in the Middle East, and electric guitars in North America illustrate instruments' entanglements with issues such as gender, genre, national identity, etc.

Rooted in the music and street culture of Black and Latin American urban youth amid the rise of the post-industrial crisis, Hip Hop culture has been a masculinist terrain since its inception. While women and female identifying persons have been among the culture’s creators, they have not always been adequately commemorated as part of Hip Hop’s grand narrative, nor have they been appropriately credited for their contributions and innovations. Working against tremendous odds to contest their ongoing marginalization and objectification, women in Hip Hop developed gender-specific strategies to carve out greater space, access, expression, and representation. Using a variety of archival texts and mediums, this course will explore Hip Hop’s origins and the politics of historical erasure; race, ethnicity and Blackness; gender, queerness, and intersectionality; misogyny, gendered violence, and exploitation; resistive practices, sounds and performances; negotiations with power, capitalism and industry; and the rise of Hip Hop Feminisms.

An advanced seminar for critical studies focused on (a) selected topic(s) in music before 1900 (topics vary by year/instructor; see current timetable). Students will encounter the relevant scholarly literature and engage in original research.

An advanced seminar for critical studies focused on (a) selected topic(s) in music after 1900 (topics vary by year/instructor; see current timetable). Students will encounter the relevant scholarly literature and engage in original research.

The history of the discipline from its roots in Comparative Musicology in the 1880s to the modern, holistic study of music and society. Other topics include transcription, transmission, and cultural appropriation. A variety of the world's traditions are illustrated with audio-visual materials, and students contribute personal surveys, analyses and debates.

An undergraduate seminar devoted to exploring an emergent sub-field of ethnomusicology. The sub-field to be explored will rotate, but some examples are: the study of music and gender, race, or class; music and language; music and violence; sociomusicology; medical ethnomusicology; the ethnomusicology of popular music and technology; analytical approaches in ethnomusicology.

An intensive research project under the supervision of a faculty member. The project must be academically demanding and uniquely suitable for the individual student. Students propose a topic that is currently not covered in the curriculum or one that warrants further exploration related to research interests and/or musical goals. Available to students in 4th year on successful completion of the core HMU requirement plus at least 1.0 credit in HMU courses at the 300 level or higher, minimum cumulative GPA of 3.3 (B+), and availability of a full-time faculty advisor from the History & Culture division. Modes of assessment are determined through discussion between student and supervisor, but will usually include a public presentation of the research project.

The study of harmony, melody and counterpoint in both traditional and jazz musical forms. Written and analytical studies of music from various jazz idioms and traditional repertoire.

Corresponding with materials studied in JMU100Y. Melodic, harmonic and rhythmic dictation; sight singing. Transcription of jazz solos and group performances.

Basic keyboard skills for jazz majors who play instruments other than piano. Credit for the course may be obtained by passing an examination.

An exploration of various forms of gospel music, from its roots in African American spirituals to mainstream contemporary gospel choir music. Students develop their ability to ‘learn by ear’ through a rote style of teaching and develop improvisation skills in solo and group settings.

Individual instruction on major instrument or voice. One hour weekly (to a total of 24 lessons).

Individual instruction on major instrument or voice. One hour weekly (to a total of 24 lessons).

While a major ensemble for students enrolled in jazz performance, this ensemble is open to other performers by audition. Students rehearse and perform in concerts as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum.

The Hybrid Ensemble is a unique and collaborative chamber group made up of a mix of Jazz and Classical students. The group performs music in many styles, includes some improvising, and encourages composing. No improvising experience is necessary, but a positive and curious mind is highly encouraged.

This course examines the artistic and technical aspects of improvised jazz performance. Analysis of improvised solos and group performances, approaches to practicing, developmental techniques and exercises, and general performance skills are among the topics covered.

Students are assigned to small jazz ensembles by audition, rehearsing with faculty for one hour and independently for an additional two hours each week. Repertoire ranges from traditional to contemporary jazz styles. Attendance at all assigned sessions is required. Three hours minimum.

While a major ensemble for students enrolled in jazz performance, this ensemble is open to other performers by audition. Students rehearse and perform in concerts as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum

The study of harmony, melody and counterpoint in both traditional and jazz musical forms. Written and analytical studies of music from various jazz idioms and traditional repertoire.

Corresponding with materials studied in JMU200Y1. See JMU101Y1.

Jazz History I begins with Ragtime era (early 20th century), and proceeds through the Jazz Age (1920s), Swing (1930s), Bebop (1940s), and Post Bop periods (1950s), culminating in the pivotal musical year of 1959. A historical timeline shows how the evolution of the music reflected and influenced societal events.

Jazz History II begins in the 1960s with the music that ushered in the modern era of jazz (Miles Davis Quintet, free/avant-garde, jazz-rock). It explores the myriad paths and styles that have been incorporated by jazz musicians of the past fifty years, up to the present day.

An exploration of various forms of gospel music, from its roots in African American spirituals to mainstream contemporary gospel choir music. Students develop their ability to ‘learn by ear’ through a rote style of teaching and develop improvisation skills in solo and group settings.

Individual instruction on major instrument or voice. One hour weekly (to a total of 24 lessons).

Individual instruction on major instrument or voice. One hour weekly (to a total of 24 lessons).

While a major ensemble for students enrolled in jazz performance, this ensemble is open to other performers by audition. Students rehearse and perform in concerts as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum.

The Hybrid Ensemble is a unique and collaborative chamber group made up of a mix of Jazz and Classical students. The group performs music in many styles, includes some improvising, and encourages composing. No improvising experience is necessary, but a positive and curious mind is highly encouraged.

This course examines the artistic and technical aspects of improvised jazz performance. Analysis of improvised solos and group performances, approaches to practicing, developmental techniques and exercises, and general performance skills are among the topics covered.

Students are assigned to small jazz ensembles by audition, rehearsing with faculty for one hour and independently for an additional two hours each week. Repertoire ranges from traditional to contemporary jazz styles. Attendance at all assigned sessions is required. Three hours minimum.