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MUR 100 EXPERIENCING MUSIC

A "music appreciation" course that celebrates the "ears-on" experience of various aspects of musical performance. Participants develop listening skills through live musical presentations, in-class performances, discussions with the performers and living composers, and guided listening sessions. Students will attend some rehearsals and concerts, including at least one Rochester Philharmonic concert at the Eastman Theatre.

MUR 101 ELEMENTS OF MUSIC

A course for the student with no previous musical experience. Topics covered include notation, intervals, chords, and other basic concepts of tonal harmony, with application to the study of a wide range of styles including popular idioms. Students should not be able to read music. Prerequisite for MUR 111.

MUR 102 CONDUCTING

This course is designed for students with little to no experience leading a musical ensemble. After mastering the basics of baton technique, beat patterns, preparations/ Prerequisites: Ability to read music and proficiency on an instrument or voice (for participation in the small in-class ensemble). This course also addresses the joys and pitfalls of conducting choirs, jazz/popular music ensembles, pit orchestras, and a cappella groups. Each student will be given the opportunity to conduct a large instrumental ensemble as a “final exam.” Assignments will include short readings and research on various aspects of conducting, with the bulk of the course work taking place in class.

MUR 103 MUSICAL ADVENTURES

Explores the wonderful world of music from Bach to Coolio. Exploring questions such as, "What is music?" and "Why humans make it?" We'll find out what one another of us thinks is musically "mint" and musically "gross" and why. From concert halls to church halls; beer halls to dance halls, we'll go in search of music.

MUR 106 A BRIEF HISTORY OF WESTERN MUSIC

This course is meant to be both a traditional class in music appreciation and a broad survey of Western notated music from its earliest manifestations up to the present day. Early lectures and assignments will help students develop more sophisticated listening skills and a conceptual vocabulary with which to talk about music. We will then focus on representative pieces from each major art-historical period (Medieval, Renaissance, Baroque, Classical, Romantic, Modern, Postmodern) as well as explore how that music functioned and held meaning for the people that composed and listened to it. Exams will test knowledge of repertory and musical style, and short writing assignments will venture into more detailed analyses and interpretations of musical works.

MUR 109 MUSICIANSHIP I: LITERACY SKILLS

Introduces students to basic musicianship skills. Begins with exercises in pitch matching and basic interval recognition and progresses toward other skills, such as singing simple melodies at sight, sight-reading various rhythmic patterns, and dictating simple melodies and chord progressions. Prospective music majors, especially those with prior singing experience, typically skip this course and begin with MUR 113.

MUR 110 INTRODUCTION TO MUSIC THEORY

Basic concepts addressing students with previous experience in an instrument or voice and little music theory. Scales, keys, intervals, chords, basic part-writing, and other fundamental aspects of musical structure. Some ear training and aural skills.

MUR 111 THEORY I

The first in a four-course sequence. Deals with basic elements of harmony, voice-leading, and analysis. Part-writing in chorale style teaches elementary aspects of tonal theory. Prospective music majors should begin their theory requirement with this course. Prereq: MUR 101, 110 or permission of instructor (placement test).

MUR 112 THEORY II

Continuation of MUR 111. This course continues with chorale and keyboard-style harmony exercises, but also introduces chromaticism, modulation, and analysis of form and phrase structure. Prerequisite: MUR 111.

MUR 113 MUSICIANSHIP II

This course develops basic musicianship skills with an emphasis of diatonic sight-singing, rhythmic sight-reading, and dictation of diatonic melodies and chord progressions. The exercises and in-class activities are similar to MUR 109 but at a more advanced level. (1 credit)

MUR 114 MUSICIANSHIP III

Continuation of MUR 113 with an increased emphasis on chrom- aticism, especially simple modulation and mode mixture. The course puts emphasis on ensemble singing and aural analysis. Prerequisites: MUR 113 or permission of theory coordinator. (1 credit)

MUR 115 MUSICIANSHIP IV

Continuation of MUR 114 with greater emphasis on chromaticism and aural analysis. (1 credit) Prerequisite: MUR 114.

MUR 116 KEYBOARD SKILLS I

Introduces students to the keyboard as a vehicle for broader musical development. Covers basic piano technique, sight-reading of simple chord progressions, realization of figured bass, and basic improvisation. No prior keyboard training required. Permission of instructor required. (2 credits)

MUR 117 KEYBOARD SKILLS II

Continuation of MUR 116. Students completing this course fulfill the piano proficiency for the music major. Prerequisite: MUR 116 or permission of instructor. (2 credits)

MUR 118 BEGINNING PIANO: FOR NON-MUSIC MAJORS

River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire. *Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits)

MUR 119 BEGINNING PIANO: FOR NON-MUSIC MAJORS

Continuation of MUR 118. (2 credits)

MUR 120 SYMPHONY AND THE CONDUCTOR

Glimpses into the world of standard performance and an overview of the métier of the orchestra conductor. In addition to the ability to read music, and knowledge of basic theory, the participants must have a love for and active interest in symphonic music.

MUR 121 WORLD MUSICS

Engaging an extraordinary diversity of sound, this course explores some of the world's major traditions of musical performance, including classical, ritual, and ceremonial music from around the globe. Through weekly reading and listening assignments, we will study musical sound structures within a variety of social, political, and religious contexts, investigating relationships between music, people, and place. In addition to well-known modes of music making, we will look at many fascinating but less familiar forms of musical expression, such as aboriginal pop music from Australia, the throat-singing traditions of Tuva and Mongolia, and the freedom songs of South Africa. The course will culminate in a semester-long final project.

MUR 122 HISTORY OF JAZZ

This study of Jazz, as an American musical art form. Less a strictly chronological approach, focusing on jazz titans, by their seminal and permanent influences, such as Louis Armstrong, Miles Davis, Coleman Hawkins and Charlie Parker. Blues, ragtime, swing, bebop, cool, progressive, and free jazz are terms that will help define that landscape.

MUR 123 MUSIC OF BLACK AMERICANS

Study of Black American Christian musical beginnings, including forms of worship, early musical practices, the Spiritual, evolution of Gospel. An examination of ante-bellum musical activities follows including secular song types, character of the folk music with respect to poetic and musical form, language and themes. Attention will be given to significant literary and aesthetic developments, especially during the Harlem Renaissance and the poetry of several writers of that era will be surveyed. The course will treat Blues, its origins evolution through the 1940s. Surveys of classical music forms from the 18th to mid-20th century; music of the theater from minstrelsy to Broadway; precursors of jazz, the syncopated dance orchestra and brass bands; early jazz to bebop round out the course offerings.

MUR 124 SIGNED SEALED & DELIVERED: Deals & Innovations that Changed the Music Industry Forever

A look at the historical deals and innovations that have impacted the music business between 1877 to present. From ground breaking inventions to brilliant marketing initiatives to hushed back-room deals, this course will expose the key moments where the record industry changed forever, both for good and bad. ** NOTE: This is a 6 week course**

MUR 125 HISTORY OF ROCK

This course explores the history of rock music, emphasizing primarily the period between 1955-1990. Discussion and reading focusing on identifying a variety of rock-music styles within the historical context of the development, transformation, and interaction of pop styles. Issues of technological development, social, political, and cultural context, race and gender, and music-business practices will also be considered. No prerequisites for this course.

MUR 126 OPERA

A small number of representative operas will be used to highlight the history of this controversial 400-year old art form and its creators, performers, and audiences. Drama, music, staging, spectacle, and dance will be examined as components of production. Divas welcome. Prerequisite: ability to read music.

MUR 127 THE BLUES

See online course description for REL 151.

MUR 128 WOMEN AND MUSIC

This course will focus primarily on women composers but will also include material on women as performers, patrons, and consumers, as well as consideration of the role that gender plays in the experience of music. No prerequisite.

MUR 130 THE BEATLES, BRITISH INVASION, PSYCHEDELIA

The history of the Beatles career and music is explored in the context of the band’s stylistic development, as well as against the backdrop of social, cultural, technical, and music-business events and issues of the 1950s, 60s and 70s. No background in music theory or ability to play a musical instrument is required.

MUR 131 ROCK MUSIC IN THE 1970'S

This course surveys rock music in the 1970s, paying special attention to ways in which 70s styles developed out of 60s styles. Artists considered will include Jimi Hendrix, Cream, Yes, Led Zeppelin, The Who, The Allman Brothers, The Eagles, Black Sabbath, The Cars, Tom Petty, The Sex Pistols and Elvis Costello, plus many more. No prerequisites.

MUR 132 STARMAKERS: INSIDE THE PUBLICITY MACHINE

Will include a historical overview of music stars and the publicity campaigns used to promote their careers. From Frank Sinatra-1940s; through Elvis Presley;-1950s; through The Beatles & The Rolling Stones in the 1960s, up through self-indulgent 70s with acts like Elton John, Kiss, and Prince, up to today's high profile campaigns for Justin Bieber, Rhianna and Lady Gaga. Students will be versed in the art of writing an artist bio, press releases, and in the various types of PR events staged to gain publicity, Starmakers will also look at the various types of publicity such as career launching; crisis management(scandals; sudden death of celebrity) and tour press.We will also look at how social media has become a game changer for music publicity.

MUR 133 MUSICAL THEATER WORKSHOP

Intensive practical experience with scene-and-song work in the repertory of popular musical theater genres. Weekly rehearsals and critique sessions, with emphasis on characterization, technical skills, sub-textual dimensions, and stylistic considerations. Some reading assignments, but emphasis is on performance preparation. Initial and concluding videotaping of "audition piece." Prerequisite: One year of voice instruction; permission of instructor (by audition).

MUR 134 MUSICAL STYLE & GENRE

An introduction to the history of Western classical music from the Middle Ages to the present, with emphasis on recognition of the chief stylistic characteristics and understanding of major genres of each period. Prerequisite: MUR 112 or permission of instructor.

MUR 135 SONDHEIM & MODERN MUSICAL THEATER

A survey of the modern musical theater through the works of Stephen Sondheim, from West Side Story through Passion. A brief history of the American musical from Show Boat through the mid-Fifties, then in-depth study of each of Sondheim's major Broadway musicals. Analysis of lyrics, musical forms and idioms, process of adaptation and production.

MUR 135A AMERICAN MUSICAL THEATER

A historical and critical survey of the Broadway musical, with a focus on its so-called Golden Age (from Oklahoma! to Cabaret). Weekly listening, reading, and video assignments with analysis of dramaturgy, lyric and musical forms, process of adaptation and production, modes of performance. Offered alternate years.

MUR 135B SONDHEIM AND THE MODERN MUSICAL THEATER

A historical and critical survey of the American musical theater from roughly 1960 to the present, as reflected principally in the works of composer/lyricist Stephen Sondheim and/or producer/director Harold Prince. Analysis of lyrics, musical forms and idioms, process of adaptation and production, modes of performance. Although prior completion of MUR 135A is recommended, students with a strong background in musical theater will be admitted as well. (Fall, alternate years)

MUR 136 SHAKESPEARE AND MUSIC

Music is inextricably woven into the plays of Shakespeare, and those plays have inspired composers for hundreds of years. The course investigates the musical world of Shakespeare's day, the specific uses of music within his plays, their revivals, and the musical representation of Shakespearean themes by later composers, including Mendelssohn, Tchaikovsky, Verdi and Britten. No prerequisites.

MUR 137 THINKING ABOUT MUSIC

Everyone knows that music can elicit a wide variety of emotions. But whether classical or jazz, punk, rock, or gospel, music also communicates countless other meanings, denoting aspects of race, religion, gender, culture, and politics. This course will explore various ways of thinking about musical meaning. After first building a musical vocabulary, we will discuss many kinds of music in different contexts, including classical and popular music, Broadway and opera, film scores, music videos, advertisements, and religious and nonwestern traditions.

MUR 138 INTRODUCTION TO CONDUCTING

This course is designed for students with little to no experience leading a musical ensemble. After mastering the basics of baton technique, beat patterns, preparations/releases, and cueing, students will gain hands-on experience leading a small ensemble comprised of fellow classmates playing instruments or singing. This course also addresses the joys and pitfalls of conducting choirs, jazz/popular music ensembles, pit orchestras, and a cappella groups. Each student will be given the opportunity to conduct a large instrumental ensemble as a “final exam.” Assignments will include short readings and research on various aspects of conducting, with the bulk of the course work taking place in class.

MUR 139 JUDAISM & ITS MUSIC

See online course description for REL 217

MUR 140 RELIGION & HIP HOP CULTURE

No description

MUR 141 INTRO TO AUDIO MUSIC & ENGIN

No description

MUR 145 HIGH VOLTAGE: HEAVY METAL MUSIC AND ITS HISTORY

Behind the screaming guitars, thundering pulse, and soaring vocals of heavy metal music lies an impressive history of censorship, rebellion, and redemption. Emphasis on musical structure and the fascinating social/cultural history of hard rock and metal. Over 40 years of hard rock and metal trends will be discussed— Sabbath to Stryper to Slipknot—and several guest musicians and lecturers will complement the course materials with performances and anecdotes.

MUR 150 WOMEN'S CHORUS

The Women's Glee Club, a group of students, alumni, faculty, staff and community members, performs a wide variety of music. Joint concerts with the Men's Glee Club and various instrumental groups within the college are regularly programmed. To join, simply register for the class. Auditions will be held during the first class.

MUR 151 MEN'S GLEE CLUB

The Men's Glee Club continues the century-old tradition of singing at the UR. Students, faculty, staff and community members performs a wide repertoire of music. The men's and women's glee clubs regularly combine with various instrumental groups to perform large oratorio style works. Auditions will be held during the first class.

MUR 152 UNIVERSITY CHAMBER SINGERS

Chamber Singers is a select 28-to 32-member ensemble which performs a cappella and chamber music from the 14th to the 21st centuries. The group is as comfortable singing jazz as performing Renaissance motets. All members of the undergraduate and graduate student body are welcome to audition for the ensemble. Auditions are held every semester.

MUR 153 SYMPHONY ORCHESTRA

URSO (Symphony Orchestra) is a university-civic orchestra whose members are selected from both UR student body and greater Rochester community. Membership through auditions, occurs prior to the first rehearsal of each season. Other auditions may be held as needed throughout the season.

MUR 154 CHAMBER ORCHESTRA

URCO (Chamber Orchestra) Membership is limited and is granted by the music director through competitive auditions, which occur prior to the first scheduled rehearsal of each season. Auditions may be held as needed during the academic year.

MUR 155 CHAMBER ENSEMBLES

The chamber music program facilitates formation and coaching of serious advanced chamber ensembles. One academic credit may be earned by registering and successfully completing all requirements listed under course work. Admission by permission of the coordinator.

MUR 156 WIND SYMPHONY

Wind Symphony draws its membership primarily from the student body on River Campus and performs music of various styles, genres, and eras. Membership by audition. Coursework: One rehearsal per week; individual practice. At least four concerts per academic year. Attendance required at all rehearsals, dress rehearsals, and concerts, unless excused in advance by conductor.

MUR 157 JAZZ ENSEMBLE

The Jazz Ensemble is open by audition to all U of R community, and performing a wide variety of music. Occasional guests artists and clinicians. (Fall and Spring) (1 credit)

MUR 157A JAZZ COMBO

Small group playing of selections from the jazz repertoire, with an emphasis on improvisation. Admission is by permission of instructor only. (1 credit)

MUR 158 GOSPEL CHOIR

One rehearsal per week. Two concerts per semester. In addition, there may be off-campus performances in local colleges, churches, and other venues in the greater-Rochester community. The Gospel Choir performs a varied repertoire of sacred music -- spirituals, hymns, traditional and contemporary Gospel, music of the praise-and-worship genre. (Fall and Spring) (1 credit)

MUR 159 GAMELAN ENSEMBLE

The Eastman Gamelan performs traditional ceremonial music and new-style music (keybar) from Bali and also new compositions for Gamelan. (Fall and Spring) (1 credit)

MUR 160 ADVANCED PIANO STUDY

Weekly one-hour private studio instruction with our artist-in-residence, Ms. Zora Mihailovich. Comparable to Eastman's PA 160, with occasional master classes, group workshops and coaching. Designed for advanced students to develop their abilities for piano performance by learning new repertoire, improving piano skills/technique and learning how to practice efficiently.

MUR 161 BROADCASTING IN THE DIGITAL AGE

A descriptive and critical analysis of the nature of electronic mass media, broadcast practices and impact. Designed to provide a broad, rigorous orientation for understanding basic elements of media production as well as skills training in reporting, writing, editing, delivery and production of broadcast media.

MUR 162 MUSIC AND THE MIND

See online course description for 6TH 260.

MUR 165 MBIRA ENSEMBLE

See online course description for ENS 216 (ESM). Beginner and Intermediate.

MUR 168 WEST AFRICAN DRUMMING Intro

Ensemble dedicated to dynamic percussive traditions of Guinea, combining the iconic djembe hand drum with a trio of drums played with sticks, known as dunun, sangban, and kenkeni. The powerful, multi-part relationships established by this trio of drums provide a rhythmic foundation, enabling djembe players to develop technique in executing accompaniment and solo parts. Fana engages ensemble players with a wide repertory of music from various regions of Guinea, including the rhythms of the Susu, Malinke, and Baga language groups. Intro and Advanced sessions offered each semester.

MUR 168A WEST AFRICAN DRUMMING INTRO

Led by Master Drummer Fana Bangoura, the West African Drumming Ensemble is dedicated to the dynamic percussive traditions of Guinea. The ensemble combines the iconic djembe hand drum with a trio of drums played with sticks, known as dunun, sangban, and kenkeni. The powerful, 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. Drawing upon his experience as a soloist with the internationally acclaimed groups Les Percussions de Guinée and Les Ballets Africains, Fana engages ensemble players with a wide repertory of music from various regions of Guinea, including the rhythms of the Susu, Malinke, and Baga language groups.

MUR 168B WEST AFRICAN DRUMMING ADV

In this course, students will work on expanding their repertory of rhythms from Guinea, West Africa, and on improving their playing technique on the djembe, dunun, sangban, and kenkeni. In particular, we will concentrate on learning extended solo sequences for the djembe, and more advanced arrangements played on the dunun, sangban, and kenkeni. Students will also work on developing skills specific to performance, adding choreographed onstage movement to complement their drumming.

MUR 170 BRASS CHOIR

Brass Choir is a 35-45 member ensemble dedicated to performing quality brass music at a high level while fostering a spirit of community among brass players on the RC. Open to experienced trumpet, horn, trombone, euphonium, and tuba players.

MUR 175 PERCUSSION ENSEMBLE

A serious contemporary ensemble that performs works from the standard percussion ensemble repertoire, occasionally the less standard, and brand new compositions for this genre. Some of the composers whose repertoire we have performed in the past consist of Hollinden, Rouse, Beck, Cowell, Peck, Cage, and Andriessen. Prior experience in percussion, the ability to read music and an audition are required.

MUR 180 ROCK REPERTORY ENSEMBLE

The Rock Repertory Ensemble is devoted to performing accurate versions of songs from the rock music repertory, with selections ranging from the early 1950s to the present day. Open to guitarists, bassists, drummers, keyboard players, and singers, with consideration given to winds players depending on repertory for a given semester. Audition required.

MUR 191 ART AND TECH OF RECORDING

No description

MUR 192 LISTENING AND AUDIO PROD

No description

MUR 193 SOUND DESIGN

No description

MUR 201 BASIC JAZZ THEORY & IMPROVISATION I

Rudiments of jazz, including chord and scale spellings, chord scale relationships, jazz/pop chord symbol nomenclature, basic forms, chord substitutions, piano voicing; strong emphasis on ear training and vocalization and transcription from records of jazz solos.

MUR 202 JAZZ THEORY & IMPROVISATION II

Continuation of MUR 201.

MUR 203 SBA & HER WORLD

No description

MUR 207 LOUDSPEAKER DESIGN

MUR 211 THEORY III

Continuation of MUR 112. Focuses on analysis of large forms, such as sonata, rondo, and song forms. Includes advanced study of chromatic harmony and modulation to remote keys. Prerequisite: MUR 112.

MUR 212 THEORY IV

Continuation of MUR 211. Explores the theoretical and aesthetic principles of twentieth-century music, especially in relation to earlier compositional procedures. Introduces basic post-tonal theory, including set-class analysis, transformational theory, and serial techniques. Prerequisite: MUR 211.

MUR 214B TOPICS IN MUSIC THEORY: ANALYSIS OF POPULAR MUSIC

Many people love pop music for its simplicity, but this course will reveal that pop music can often be surprisingly complex in the ways it projects structure and creates musical relationships. Many dimensions of pop music will be analyzed, including harmony, melody, rhythm and meter, texture, form, recording technique, and text-music relationships. Prerequisites: MUR 112.

MUR 220 

MUR 221 HISTORY OF WESTERN MUSIC TO 1600

Survey of Western classical music through 1600, including the investigation of style, genre, transmission, contemporary theory, patronage, cultural context and meaning, etc. Workshops deal with topics such as transcription and performance practice. Prerequisite: Completion of or current enrollment in MUR 111. For sophomores and above.

MUR 222 HISTORY OF WESTERN MUSIC 1600-1750

Survey of Western classical music from ca. 1600 to the mid-eighteenth century, with emphasis on the stylistic, generic, and performance innovations of the period; opera receives special attention. Workshops investigate specific problems posed by notation, performance, ethics, and so on.

MUR 223 HISTORY OF WESTERN MUSIC 1750-1850

The history of western art music from approximately 1730-1850, with an emphasis on analysis of the masterpieces of tonal music and their relationship to society and other arts. Lectures with extensive listening, reading, and analysis.

MUR 224 HISTORY OF WESTERN MUSIC: 1850-PRESENT

History of western art music from approximately 1850 through the present, with emphasis on the changing meaning of "New Music" and its role in society. Analysis of post-Wagnerian tonal music and non-tonal alternatives. Lectures, with extensive listening and reading, as well as analytical assignments.

MUR 226 

MUR 230 

No description

MUR 233 ADVANCED MUSICAL THEATER WORKSHOP

Continuation of MUR 133.

MUR 234 MUSIC ANALYSIS: THE BEATLES

This course is designed for upper-level undergraduate music majors and graduate students in music. We will analyze the music of the Beatles in detail, focusing on issues of form, harmony, textural coordination/stratification, lyrics, instrumentation, rhythm/meter, and production.

MUR 235 PROGRESSIVE ROCK IN THE 70S

Seminar course designed for graduate/advanced undergraduate music students having a strong background in music history and analysis. Closely examining music of 1970s progressive rock bands, with emphasis on Yes, Genesis, King Crimson, Emerson Lake & Palmer, and Gentle Giant. Students will transcribe passages, closely analyze, and consider music in terms of issues of form, texture, harmony, melody, instrumentation, as well in relation to a variety of music-historical and aesthetic contexts.

MUR 236 MUSIC, ETHNOGRAPHY, and HIV/AIDS

Addressing the devastating effects of HIV/AIDS in the United States, United Kingdom, Tanzania, Zimbabwe, Uganda, Haiti, and elsewhere, this uniquely interdisciplinary course will incorporate insights from the fields of public health, medical anthropology, and ethnomusicology. Studying the HIV/AIDS epidemic through the lens of musical expression, we will ask how individuals and communities affected by HIV/AIDS have mobilized musical sound in response to the disease. Topics addressed within the class will include musical representations of HIV/AIDS within queer communities; the use of music in public health campaigns to raise awareness about the disease; and the mobilization of musical performance within grassroots support groups for individuals affected by HIV/AIDS.

MUR 391 INDEPENDENT STUDY

No description

MUR 393 SENIOR PROJECT

No description

MUR 394 INTERNSHIP

No description

MUR 396 BASIC JAZZ THEORY & IMPROV

No description

MUR 420 

MUR 425 SEMINAR IN ROCK MUSIC

Devoted to specialized topics in Rock Music

MUR 430 

No description

MUR 434 MUSIC ANALYSIS: THE BEATLES

This course is designed for upper-level undergraduate music majors and graduate students in music. We will analyze the music of the Beatles in detail, focusing on issues of form, harmony, textural coordination/stratification, lyrics, instrumentation, rhythm/meter, and production.

MUR 435 PROGRESSIVE ROCK IN THE 70S

Seminar course designed for graduate/advanced undergraduate music students having a strong background in music history and analysis. Closely examining music of 1970s progressive rock bands, with emphasis on Yes, Genesis, King Crimson, Emerson Lake & Palmer, and Gentle Giant. Students will transcribe passages, closely analyze, and consider music in terms of issues of form, texture, harmony, melody, instrumentation, as well in relation to a variety of music-historical and aesthetic contexts.

MUR 436 MUSIC, ETHNOGRAPHY, and HIV/AIDS

Addressing the devastating effects of HIV/AIDS in the United States, United Kingdom, Tanzania, Zimbabwe, Uganda, Haiti, and elsewhere, this uniquely interdisciplinary course will incorporate insights from the fields of public health, medical anthropology, and ethnomusicology. Studying the HIV/AIDS epidemic through the lens of musical expression, we will ask how individuals and communities affected by HIV/AIDS have mobilized musical sound in response to the disease. Topics addressed within the class will include musical representations of HIV/AIDS within queer communities; the use of music in public health campaigns to raise awareness about the disease; and the mobilization of musical performance within grassroots support groups for individuals affected by HIV/AIDS.

MUR 468 WEST AFRICAN DRUMMING BEG

No description

MUR 591 PHD READINGS IN MUSIC

No description

MUR 986V FULL TIME VISITING STUDENT

No description