An inquiry into the construction and reflection of gender and sexual identities in Western music. The course will emphasize discourses surrounding feminism and the role of women in music, masculinity studies, and gay, lesbian, bi-sexual and transgendered studies and their relationships to musical specific works, production and reception.

Oppressive regimes continue to constrain culture and freedom of expression. Taking an interdisciplinary approach, this course explores how totalitarianism has used music as an instrument of propaganda and control, and how musicians/activists have resisted. We will concentrate on Nazi Germany, the Soviet Union and the Middle East (especially Iran). The course covers Western art music but also other styles of music that have flourished under totalitarian regimes.

This course examines various roles of women in opera from Monteverdi to Berg. Topics including the power of the female voice, constructions of gender and identity, the diva or 'star singer' and images of women in society will be explored through DVD excerpts, source documents and selected readings.

This class will survey some of the many music and dance traditions that can be seen and heard in a variety of Brazilian contexts. In addition to the most well-known of these, the carnival samba of Rio de Janeiro, we will explore lesser-known but equally vital practices such as samba de roda, forro, and axe music. Each will be studied in relation to sound, bodily movement, and pertinent social issues such as cultural politics, nationalism, racial identity, and tourism, among others.

Global Popular Musics is an introduction to popular music in its social and cultural context in a variety of international settings. Genres to be covered may include, but are not limited to, rock, hip-hop, country, and “world music”. The course will take an issues-based approach to the study of popular music, focusing on topics such as the interplay of tradition and modernity; media and technology; race, gender, sexuality, class, and other facets of identity; urbanization and migration; and the markets and legal structures surrounding music.

Music and sound have long been considered to have spiritual and social powers in the Middle East. This survey introduces students to important musical genres, sonic practices, and influential practitioners from Egypt, Turkey, the Levant, and Iran and discusses their connections to fields of tradition, modernity, religion, gender, and politics.

Plainchant and polyphony, including topics for individual research.

Instrumental and vocal genres, including topics for individual research.

Developments and trends since 1910, including topics for individual 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 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.

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.

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.