(for 2012–2013 academic year) Professors
Cheng, Joscelyn Godwin (Chair)
, Klugherz Associate Professors
Cashman, Swain Assistant Professor
Zhou Artists in Residence
Pilgrim (voice), Heyman (piano) Teachers of Applied Music
Balestra (guitar, jazz guitar), Barnhart (cello), Campbell (flute; orchestra manager), Cashman (saxophone), Cleveland (violin), Decock (piano), Dudgeon (trumpet), Ivanov (bassoon), Johns (drums), Kime (organ; staff accompanist), Klugherz (violin/viola), Koen (piano; staff accompanist), Montalbano (jazz piano), Pugh (bass, jazz bass), Rabin (clarinet), J. Stern (voice), Stockham (jazz trumpet), Unland (trombone, tuba), TBN (French horn), TBN (oboe)
Many students come to Colgate with significant musical experience behind them, gained through arduous and focused study. The fundamental aim of the curriculum in music is to develop that experience to its utmost potential.
Performance ensembles and private instruction build directly on that experience, while classroom instruction introduces student musicians to important ideas, histories, and various cultures that inform and broaden that experience. Qualified students can choose to develop in ways that most interest them. Those who choose to major in music will find their development guided by a balanced program of performance and classroom studies. Graduating majors have gone on to graduate study in every area of music or have immediately entered careers in arts management, mathematics, medicine, law, business, sound engineering, and many other fields.
Another fundamental aim of the curriculum is to introduce students with little or no musical background into the world of music as part of Colgate’s liberal arts program. These students should begin with MUSI 103, 111, 151, 161
Upper-level courses divide into three groups: history, theory, and performance. The history courses are designed to give students an understanding of music through a study of composers and historical periods. The theory sequence teaches how music is put together and how to write it. The performance courses offer opportunities for students to engage in the art of performance and to gain credit in department-sponsored ensembles and private instruction.
Students considering a major or minor should elect MUSI 203, Harmony I
, as soon as possible. Alternatively, MUSI 211, 212, 213,
(the historical survey) can be taken in any order as first courses.
The music department offers extensive performing opportunities open to all qualified students regardless of major. The Colgate University Orchestra and Colgate University Choral Ensembles are the large performing organizations (auditions required). Performance opportunities are also offered in the Colgate Chamber Players (chamber music) and Colgate University Concert Jazz Ensemble. Private instruction in most instruments, including voice, is available to students at an additional fee. All of these programs (except private instruction) may be elected on a credit or non-credit basis, and they are open to all Colgate students regardless of major.
1. Four courses in music theory: MUSI 203, 204, 301
, and either 207
2. Three courses in music history, from MUSI 211, 212, 213
, or 214
3. One elective course above the 100 level, not performance
4. All music majors are expected to participate in ongoing music performance through graduation. A minimum of four semesters in one or more of the following faculty-sponsored organizations is required: Colgate University Orchestra, Colgate University Choral Ensembles, Colgate Chamber Players, or Colgate Concert Jazz Ensemble.
A music major must have a GPA of at least 2.00 in the above courses to graduate. The department recommends that students planning graduate work in music acquire background in foreign languages, particularly German, French, Italian, and Latin.
1. Two courses in music theory: MUSI 203
2. Two courses in music history, from MUSI 211, 212, 213,
3. One elective course above the 100 level, not performance
4. All music minors are expected to participate in ongoing music performance through graduation. A minimum of four semesters in one or more of the following faculty-sponsored organizations is required: Colgate University Orchestra, Colgate University Choral Ensembles, Colgate Chamber Players, or Colgate Concert Jazz Ensemble. Music minors declaring in their senior year must have had two prior semesters of participation in one of the aforementioned faculty-sponsored ensembles.
Candidates for honors in music must
1. Have or exceed, by the time of graduation, a major GPA of 3.50 and an overall GPA of 3.20.
2. Complete an honors project (MUSI 470
) with a grade of at least A–.
3. Pass a general examination in the history of western music.
Candidates for high honors in music must
1. Have or exceed, by the time of graduation, a major GPA of 3.80 and an overall GPA of 3.20.
2. Complete an honors project (MUSI 470
) with a grade of at least A–.
3. Pass a general examination in the history of western music.
To elect MUSI 470
, the candidate must provide the department chair with a written proposal for the project by April 15 for a fall-semester project or December 1 for a spring-semester project. The project should have as its outcome a thesis, a composition, or a recital. It is both approved in advance and graded by the entire department.
See “Honors and Awards: Music” in Chapter VI.
Credit may be given at the discretion of the department faculty to students who have completed music courses at other institutions or taken an AP exam in music.
The Venice off-campus study group offers credit courses in music. For more information, see “Off-Campus Study Group Programs” in Chapter VI, as well as MUSI 311
. MUSI courses count toward the Human Thought and Expression area of inquiry/humanities distribution requirement, unless otherwise noted. History and Appreciation 111 The History of Rock M. Cheng
Rock is a dominant force, a phenomenon. It began as the language of youth and grew to its present centrality. This music course examines innovative songs and artists, primarily from the ’50s through the ’70s, the era of classic rock. The goals of the course are to broaden students’ knowledge of rock history for this period, to gain insights into the music and lyrics, to learn how to listen and analyze music, and to think critically. Since rock reflected 20th-century society, broad issues of culture, art, and history are also discussed.
141 Traditions of Catholic Music J. Swain
A survey of liturgical and para-liturgical music of the Roman Catholic tradition from c. 800 A.D. to present times, considered from purely musical but also liturgical and theological perspectives. Students learn to distinguish by ear plainchant, classic polyphony, operatic-symphonic, and popular idioms (including some of non-western cultures) as well as the history of each. The course also covers the principal liturgies of the Roman rite and some of the more important 20th-century legislation regarding liturgical music. This is a 0.25 credit, 8-week course. Prerequisites: none.
151 The Musical Experience Staff
This introductory course is designed to acquaint the listener with some of the masterpieces of Western classical music from the Renaissance to the present and to develop an awareness of the role of musical elements, such as melody and orchestration, in the works studied. While it is not expected that students have played an instrument or read music, the course does attempt to develop some skills in score reading and notation. This course may not be elected after a 200-level course has been taken. 161 The History of Jazz G. Cashman
A study of American jazz from 1920 to the present, through readings, intensive study of recordings, and class lectures. Several topics are studied in depth: listening skills, the quality of swing, group interaction, the development of solo improvisation, the blues, and the evolution of jazz performance practice. Several important composers, bands, and soloists are featured, including Louis Armstrong, Duke Ellington, Charlie Parker, John Coltrane, and the Miles Davis groups. 211 Music History I: Medieval and Renaissance Periods Joscelyn Godwin
A survey of music history from about 900 to 1600, the period of the medieval cathedrals and the courts of the Renaissance. The course attempts to understand the ideas and circumstances that formed the music, both sacred and secular. Open to any student with basic score-following skills and some musical background. Can be taken without or before MUSI 212, 213, 214
212 Music History II: Baroque and Early Classic Periods Joscelyn Godwin
A survey of music history from about 1600 to 1800, the period of Monteverdi, Purcell, Handel, J.S. Bach and his sons, Rameau, Mozart, and Haydn. Open to any student with basic score-following skills and some musical background. Can be taken without or before MUSI 211, 213, 214
. 213 Music History III: Classic and Romantic Periods Joscelyn Godwin
A survey of music history from Mozart or Haydn through the 19th century, including Beethoven, Schubert, Chopin, Berlioz, Liszt, Wagner, and Mahler. Open to any student with basic score-following skills and some musical background. Can be taken without or before MUSI 211, 212, 214
. 214 Music History IV: The 20th Century Joscelyn Godwin
A survey of music history from Debussy onwards, including Ravel, Strawinsky, Schoenberg, Bartók, Britten, the post-war avant-garde, and the American experimentalists. Open to any student with basic score-following skills and some musical background. Can be taken without or before MUSI 211, 212, 213. 221 World Music: Latin America L. Klugherz
A study of music as a cultural phenomenon. Using as a context the diverse societies of Latin America and the cultures that have influenced them, the course examines how music relates to many aspects of life, identifies social classes, embodies political issues, shapes ceremonial practices, and creates cultural identity. Students attend extra musical events during the term and complete listening assignments. No seniors admitted. 305 Composer Studies Joscelyn Godwin
This elective offers an intensive study of the works of a single composer or a pair of composers. The actual composer(s) are announced in the course offerings posted online for each term. In previous years they have included J.S. Bach, Mozart, and Wagner. Other possibilities are Beethoven and a course that covers both Debussy and Ravel. Prerequisite: basic score-following skills and some background in classical music. 311 The Arts in Venice during the Golden Age J. Swain
The republic of Venice offers a special opportunity to study the interaction of the various fine arts that flowered simultaneously at the peak of one of Europe’s greatest cultural centers. The course examines artistic achievements of the Renaissance and early Baroque ages (ca. 1400–1700), chiefly in architecture and music. Students make frequent excursions to exemplary churches and palazzi, may attend local concerts, and learn to sing some Italian Renaissance music. Major credit by permission of the department. Prerequisite: admission to the Venice Study Group. This course is crosslisted as ARTS 311
. 313 The Italian Opera Tradition J. Swain
After an introduction to the principles of music drama, this course concentrates on operas representative of all important periods of the Italian tradition. The composers include Monteverdi, Mozart, and Verdi. The remaining operas studied are determined according to what is offered in the opera houses in and around Venice during a particular season. Offered only in Venice. Prerequisite: admission to the Venice Study Group. Course Offerings: Theory
103 Basic Musicianship and Songwriting T. Zhou
This course teaches students about the basic musical materials of music theory. This involves learning to read, notate, compose, and study music. The course focuses primarily on Western art music (“classical music”) and, to a lesser extent, jazz. Since these two broad musical categories represent the roots of many other, more specific styles, the lessons from the course can be applied to a wide variety of music. In addition to written and aural exercises and exams, students compose several short musical works. No ability to read music or experience with music theory is assumed of those enrolling. 203 Harmony I J. Swain
An introduction to the central harmonic system of Western culture. Students learn to make basic chords and organize them into sensible progressions in all keys. At the same time, they learn the handling of the various melodic parts. Excerpts from a variety of Western masterworks illustrate the harmonic principles. A significant amount of class time is spent training the ears to recognize chord progressions, intervals, rhythmic patterns, and melodic patterns. This training is supported by computer-driven ear training facilities. Prerequisite: performance experience. 204 Harmony II J. Swain
A continuation of Harmony I. The first part of the course is an intensive review of harmonic principles that develops greater fluency with them. The second part covers chromatic harmony and completes the chord grammar begun in Harmony I. The third part applies all the harmonic principles in an extensive analysis of a major composition such as a Beethoven symphony. Laboratory time devoted to ear training is required as in Harmony I. Prerequisite: MUSI 203
or permission of instructor. 207 Composition T. Zhou
A workshop class on musical creativity. Students work with one another on the composition of new music of all kinds while studying each other’s music and music by other contemporary composers. Both individual and class meetings are held. Pieces are performed in class and in a final concert at the end of the semester. Prerequisite: permission of instructor. 220 Digital Music Studio T. Zhou
A workshop class focused on creating music using digital media. Students learn to use software-based Digital Audio Workstation (DAW) to develop skills in creating, recording, editing, mixing, and mastering musical works. Students also learn the principles of signal processing and audio routing techniques by studying works of other musicians and engineers. Student projects are presented in a final public presentation. Prerequisite: permission of instructor. 301 Analysis J. Swain
An introduction to four important critical and analytical theories that attempt to explain the underlying structure and effects of music that listeners experience. After a review of traditional harmonic theory, the course proceeds to Schenkerian analysis, thematic process, implication theory, and a theory of style. The principles of each are applied to compositions of Western masters ranging from Bach to Brahms with the intention of discovering the strengths and weaknesses of each approach. Prerequisite: MUSI 204
. 302 Composition in Historical Styles J. Swain
Students compose music as a way of studying, in a manner complementary to the department’s historical survey, the traditional styles of Western art music. During the term students complete a Renaissance motet, a fugue in the style of Bach, a sonata movement in the style of Mozart, and a prelude in the style of Chopin. Prerequisite: MUSI 204
. Course Offerings: Performance
208 Jazz Theory/Improvisation G. Cashman
This course offers the study of basic jazz theory and its application in jazz improvisation. Topics include chord/scale relationships, musical line construction and development, jazz as a language, tension and release techniques, analysis of transcribed solos recorded by jazz masters, ear training, and jazz phrasing. Students play in class and practice outside of the classroom with pre-recorded rhythm section tracks. Theoretical material and several jazz compositions are memorized with students learning to play this material from memory on their instruments. Exams include written and performance segments. It is expected that enrolling students can read music and have played their instrument for at least three years. The completion of MUSI 203
is recommended before taking this course. This course is open to wind, string, and keyboard musicians. Prerequisite: permission of instructor. 217, 317 Chamber Music I, II L. Klugherz
These performance courses are for advanced instrumentalists. The Colgate Chamber Players perform major works of the chamber music repertoire at four or five concerts during the year at various locations on campus and in the community. A bi-yearly tour is included. Normally, two consecutive terms are required for a student to receive a single credit. Prerequisite: audition. 230, 330 University Orchestra I, II M. Cheng
A performance course in the symphony orchestra. The orchestra rehearses and performs outstanding works of the symphonic literature. Students must be continuing members of the organization, as certified by the director. Normally two consecutive terms are required in order to receive a single credit. Prerequisite: audition. 232, 332 Colgate Concert Jazz Ensemble G. Cashman
A performance course in jazz ensemble. The ensemble rehearses and performs contemporary and historical works from the big band repertoire. The course also introduces basic elements of jazz improvisation and includes interaction with guest artists. Normally two consecutive semesters of participation are required in order to receive a single credit. Prerequisite: audition. 234, 334 University Chorus I, II J. Stern
A performance course in choral music. The chorus rehearses and performs works from the repertoire including sacred and secular works with or without accompaniment. Students must be continuing members of the organization, as certified by the director. Normally two consecutive terms are required in order to receive a single credit. Prerequisite: audition.
236, 336 Private Instruction I, II Staff
Credit for private study in voice or musical instruments is offered to advanced students, who must be continuing pupils of an instrumental or vocal instructor, with a minimum of one prior term of private study at Colgate. The course consists of one-hour lessons each week during the term and may include a public performance. An application to the department chair must be completed and meet with department approval during the term prior to enrollment. 318 The Art of Conducting and Advanced Musicianship M. Cheng
A study of the techniques of conducting. Works from choral and orchestral literature are conducted and studied, with historical background, analysis, ear training, and interpretation of scores. Prerequisite: permission of instructor. Independent Studies 291, 391, 491 Independent Study Staff
These courses offer students opportunities for individual study in musical areas not covered by other course offerings, under the guidance of a member of the staff. Prerequisite: permission of instructor and department chair. 470 Senior Seminar Staff
Given on an independent studies basis, this course is the requirement for honors or high honors in music. Taken in the senior year, the independent study may be in whatever the student and faculty adviser regard as the student’s major musical strength.