Music Immersion - Curriculum

Music Immersion

Course
Electives:
Choose three of the following:
   FNRT-202
   Music & Global Cultures
Music & Global Cultures is an exploration of music from around the world drawing from the theoretical and methodological discipline of ethnomusicology. This field has been defined as the study of “people making music” (Titon) or of music “as” culture. Ethnomusicologists seek an understanding of the connections between musical expression and other elements of society. Music can reflect a community’s experience as well as becoming a catalyst for political and social change. In this course you will explore the ways different musics are created, performed, used and passed on to future generations. In class we will hone our listening skills, analyze musical and rhythmic structure, read ethnographic accounts of musical performances, as well as discuss and write about music. Lecture 3 (Fall).
   FNRT-203
   American Popular & Rock Music
This course examines the history and elements of popular and rock music in the United States from the end of the 19th century to current times. Emphasis will be placed on the music that was written and performed after WWII. Students will be introduced to various styles of this genre as well as an introduction to those musical elements necessary to define a rudimentary analysis of the music. Among the composers and performers to be studied are early Minstrel performers, Louis Armstrong, Scott Joplin, George Gershwin, Blues musicians, Benny Goodman, Frank Sinatra, R and B musicians, country and western, Elvis Presley, Motown, Ray Charles, folk, Jimi Hendrix, disco, punk, metal, grunge, and pop. Lecture 3 (Spring).
   FNRT-204
   Music & the Stage
A historical and cultural survey of collaboration between the arts of music and theatre, focusing on a selection of significant creative products that combine music and drama. Possible works studied include those by Shakespeare, Monteverdi, Mozart-Daponte, John Gay, Beethoven-Goethe, Wagner, Puccini, Brecht-Weill, and Bernstein, spanning the genres of Renaissance tragedy and comedy, opera seria, opera buffa, ballad opera, incidental music, romantic drama, Italian opera, music-drama, epic theatre, cabaret, vaudeville, and musical comedy. Lecture 3 (Biannual).
   FNRT-205
   Music Theory 1
This course is designed for the student who has basic musical literacy (ability to read music notation). In addition to the writing of melody, two-part counterpoint and four-part harmony, some attention will be given to the analysis of form and style. Because it is important that theoretical understanding be coordinated with musical application, time will be devoted to the development of musicianship. Consideration will be given to individual skills and abilities, hopefully allowing for the maximum development of each student. (Elementary music reading ability) Lecture 3 (Fall).
   FNRT-209
   Medieval and Renaissance Music
The beginning of the Western tradition of art music can be traced to Medieval Europe ca. 600 CE, as systems of music notation began to develop in and disseminate through important liturgical text sources. This desire to preserve and disseminate certain musical-textual traditions grew and developed steadily throughout Christendom over the next millennium, in both sacred and secular contexts. This course examines this development of music and text during the Medieval and Renaissance periods (ca. 600-1600 CE), with attention drawn to specific aspects of cultural context and performance practices that offer modern musicians and music connoisseurs a solid basis for experiencing the music in live performance, both in active listening (concert/liturgy attendance) and in participating (in-class singing). Lecture 3 (Biannual).
   FNRT-210
   Bach, Handel, and the Baroque
European society experienced many changes during the late 16th through the early 18th centuries, and music's role and development within the context of these changes was varied, and profound. This course explores the creation and performance of music within the context of European cultural, religious, political and artistic ideals from 1580 to 1750, culminating in in-depth discussion of the life and works of J. S. Bach and G. F. Handel. Lecture 3 (Fall).
   FNRT-211
   Era of Haydn, Mozart, & Beethoven
Many of the characteristics of art music up to the present day have their beginnings in the late 18th century. This course explores the creation and performance of music within the context of European cultural, political and artistic ideals from 1740 to 1825, with particular attention given to the works of Haydn, Mozart, and Beethoven. Lecture 3 (Spring).
   FNRT-250
   RIT Singers*
The RIT Singers is an experiential-learning course in which students learn music theory and historical context by learning pieces from the 16th century to the present and performing them at three major concerts a year. Participation in learning and performing such music gives students an experiential appreciation and understanding of the role of music in modern society. In addition, students from the RIT Singers have opportunities to sing in a variety of small vocal ensembles. Auditions will be held to assess proper placement. Contact instructor for more information. (Auditions will be held to assess proper placement. Contact the instructor for information. Students who have previously participated in RIT Singers can enroll without further permission.) Studio 3 (Fall, Spring).
   FNRT-251
   RIT Orchestra*
The RIT Orchestra performs three major concerts a year of standard orchestral repertoire from the 16th century to the present. In addition, students from the RIT Orchestra have the opportunity to play in a variety of chamber music ensembles. Auditions will be held to assess proper placement. Contact instructor for more information. (Auditions will be held to assess proper placement. Contact the instructor for information. Students who have previously participated in RIT Orchestra can enroll without further permission.) Studio (Fall, Spring).
   FNRT-252
   RIT Concert Band*
The RIT Concert Band is an experiential-learning course in which students learn music theory and historical context by learning several works from the Concert Band literature including standard wind band literature, contemporary compositions, marches, and orchestral transcriptions. The ensemble prepares to perform three major concerts a year and participates in departmental performances. Participation in learning and performing such music gives students an experiential appreciation and understanding of the role of music in modern society. Auditions will be held to assess proper placement. Contact instructor for more information. (Auditions will be held to assess proper placement. Contact the instructor for information. Students who have previously participated in RIT Concert Band can enroll without further permission.) Studio 1 (Fall, Spring).
   FNRT-253
   World Music Ensemble*
The RIT West African Percussion Ensemble is a hands-on course, in which students explore the dynamic percussive traditions of Guinea. The ensemble combines the djembe hand drum with a trio of drums played with sticks, known as dunun, sangban, and kenkeni. The multi-part relationships established by this trio of drums provide a rhythmic foundation for the ensemble, enabling djembe players to develop technique in executing both accompaniment and solo parts. Enrollment is open to all interested students, faculty, and staff, regardless of musical proficiency. Developing cooperation and teamwork is a necessary outcome of participation in this ensemble. Studio 1 (Fall, Spring).
   FNRT-254
   RIT Jazz Ensemble*
Preparing for and performing concerts of jazz repertoire offers students the opportunity to broaden their knowledge of and appreciation for music, and its role in society, through the careful analysis of musical forms and ideas, and the comparison of exemplary works from a variety of times, places and social/cultural necessities. The RIT Jazz Ensemble performs three major concerts a year of standard repertoire from the early 20th century to the present. Students from the RIT Jazz Ensemble also have the opportunity to play in a variety of informal performances both on and off campus. Auditions will be held to assess proper placement. Contact instructor for more information. (Auditions will be held to assess proper placement. Contact the instructor for information. Students who have previously participated in RIT Jazz Ensemble can enroll without further permission.) Studio 3 (Fall, Spring).
   FNRT-255
   RIT Chamber Orchestra*
Preparing for and performing concerts of orchestral repertoire offers students the opportunity to broaden their knowledge of and appreciation for music, and its role in society, through the careful analysis of musical forms and ideas, and the comparison of exemplary works from a variety of times, places and social/cultural necessities. The RIT Chamber Orchestra is a select group of advanced players It performs concerts and engages in other activities, in particular the exploration of performing practices and stylistic considerations apropos to 17th, 18th, and 20th century music. In particular, the RIT Chamber Orchestra revives works from the 18th and early 19th centuries that have not been performed in modern times. Participation is by invitation of the music director, or by audition. Contact instructor for more information. (Auditions will be held to assess proper placement. Contact the instructor for information. Students who have previously participated in RIT Chamber Orchestra can enroll without further permission.) Studio (Spring).
   FNRT-320
   Music of the Romantic Era
Survey of the rise of romanticism from Beethoven to Strauss in the context of the development of 19th century musical styles in general. Topics of exploration include national trends in 19th century music, the rise of the general public as arbiters of musical taste, philosophical influences, and performance considerations. (Prerequisites: FNRT-110 or FNRT-205 or FNRT-211 or equivalent course.) Lecture 3 (Fall).
   FNRT-321
   Music Since 1900
Survey of the cultivated traditions of music in the 20th and 21st centuries, particularly in the U.S., taking into account its political, social, and historical frameworks. (Prerequisites: FNRT-205 or equivalent course.) Lecture 3 (Spring).
   FNRT-322
   Survey of Jazz
This course will survey the development of American jazz music, highlighting representative composers and performers and significant works. Particular attention will be drawn to the multi-racial influences on the creation of jazz music and its relationship to American culture as a whole. Lecture 3 (Fall).
   FNRT-485
   Music Theory 2
This course is designed for the student who has a knowledge of basic music theory and an understanding of four-part diatonic composition. In addition to the continuing study of melodic construction and development, thematic development in two-part counterpoint, four-part harmony, chromatic materials and modulation, and analysis of form and style, emphases will be placed on the development of individual music skills. (Prerequisites: FNRT-205 or equivalent course.) Lecture 3 (Spring).
   PRFL-250
   Music History 1: Antiquity to Bach
This course explores the creation, performance, and reception of music within the context of Western cultural, religious, political and artistic ideals, and related non-Western traditions, from Greek antiquity to ca. 1750. Topics of exploration include the development of musical notation, musical instrument technology, the interrelationships of music theorists, composers, performers, patrons, and audiences, music as a communicative and expressive art, aesthetics, and musical analysis and criticism. Lecture 3 (Fall).
   PRFL-251
   Music History 2: Haydn to Stravinsky
This course explores the creation, performance, and reception of music within the context of Western cultural, religious, political and artistic ideals, and related non-Western and popular traditions, from ca. 1750 to ca. 1920. Topics of exploration include musical instrument technology, the interrelationships of music theorists, composers, performers, patrons, and audiences, nationalism, the influence of folk and non-Western music traditions on Western art music, popular music traditions, music as a communicative and expressive art, philosophy and aesthetics of the Enlightenment and 19th century, and musical analysis and criticism. (Prerequisites: PRFL-160 or PRFL-250 or PRFL-265 or equivalent course.) Lecture 3 (Spring).
   PRFL-327
   American Musical Theater
This course is a survey of the development of the American Musical Theater, highlighting representative works, composers, librettists and performers of both the cultivated and vernacular traditions. It is further designed as an appreciation course, fostering the development of a greater appreciation for all types of stage music and the ability to better evaluate the quality of a work, the performance, and the performers. Lecture 3 (Spring).
   PRFL-352
   Russian Music and National Identity
Russia’s history contains a complex blend of indigenous artistic expression and artistic influences from beyond its borders. Given its large land mass and geographical position spanning Europe and Asia, Russian monarchs struggled with understanding who the Russian people were, but also how to best navigate the cultural and economic commonalities and differences among their neighbors, with whom they desired relationships. This course explores the many ways music in Russia reflected the cultural influences apropos to its complex history and national identity in the world. The focus will be on the political, social, and artistic aspects of Russian music nationalism emerging in the 19th century and continuing into the 20th-century Soviet Era, but will include a review of the cultural and historical background from the 9th through the 18th centuries which led to Russia’s own, unique musical and artistic language. This is a writing-intensive seminar-format course, encouraging students to develop their research and writing skills, and their abilities to analyze, argue and persuade within historic, cultural, artistic, and aesthetic fields. Seminar 3 (Fall, Spring).
   SOIS-240
   The Harmonica & the Blues
From the mid-1800s to today, the harmonica has largely been learned informally, passed down by generations of musicians who have used it to play melodies, solos, and chord accompaniment. It was a natural for the blues because of its human voice-like quality and flexible way to play “blue” notes. Blues musicians developed a harmonica style that reverberates in many musical styles today. This interdisciplinary course focuses on the history and culture of the harmonica and the blues. Students learn about era-related harmonica styles, influential harmonica players, the basics of playing blues-style diatonic harmonica, and the fundamentals of sound. Students will attend a live music performance in the Rochester community. (This class is restricted to undergraduate students with at least 2nd year standing.) Lec/Lab 3 (Fall, Spring).

* Each of these ensembles is one semester credit hour. Three semesters of participation are required to complete one immersion course.

† At least one course must be taken at the 300-level or above.