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.

BUILDING: HUTCH | ROOM: 140

6ENS 216 (I, II-1) Mbira Ensemble May be repeated for credit.

BUILDING: ET | ROOM: 12

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.

BUILDING: STRNG | ROOM: UPPER

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)

BUILDING: TODD | ROOM: 108

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.

BUILDING: TODD | ROOM: 202

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)

BUILDING: TODD | ROOM: 108

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.

BUILDING: TODD | ROOM: 202

This course is a continuation of AME191. Emphasis is on the development of critical listening skills and proficiency in audio mixing and mastering. Fundamental topics covered include the human auditory system, theories of hearing and audio perception, perception of loudness and pitch, critical bands and auditory masking, beats and roughness, temporal and pitch acuity, binaural hearing. Listening skills development include hearing “width” and “depth” in audio, mixing techniques in various musical genres, recognition of various effects including reverb, delay, compression, phasing and distortion. Production skills development includes equalization and achieving spectral balance, the use of compression and dynamic range control, achieving depth and dimension in recordings, panning and auditory scene control.

BUILDING: CSB | ROOM: 423

The origins of the Blues in the context of African-American culture in the late 19th and early 20th centuries, it's rapid rise to becoming the dominant popular music in the African- American community, and the discovery of blues by white audiences.

BUILDING: HUTCH | ROOM: 473

Offering the student glimpses into the world of standard orchestral performance as well as an overview of the métier of the orchestra conductor. In addition to the ability to read music, knowledge of basic music theory, participants must have a love for and active interest in symphonic music and the process of its preparation and performance. In addition to class lectures, students will visit orchestral rehearsals off-and on-campus, view rehearsal and performance videos, enjoy interactions with local conductors, arts managers, orchestral musicians, and also attend orchestra concerts. (Alternate Spring Semesters only)

BUILDING: STRNG | ROOM: LOWER

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.

BUILDING: TODD | ROOM: 202F

This course is a continuation of AME191. Emphasis is on the development of critical listening skills and proficiency in audio mixing and mastering. Fundamental topics covered include the human auditory system, theories of hearing and audio perception, perception of loudness and pitch, critical bands and auditory masking, beats and roughness, temporal and pitch acuity, binaural hearing. Listening skills development include hearing “width” and “depth” in audio, mixing techniques in various musical genres, recognition of various effects including reverb, delay, compression, phasing and distortion. Production skills development includes equalization and achieving spectral balance, the use of compression and dynamic range control, achieving depth and dimension in recordings, panning and auditory scene control.

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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.

BUILDING: STRNG | ROOM: LOWER

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.

BUILDING: STRNG | ROOM: UPPER

This course covers the acoustical and psychoacoustic fundamentals of audio recording including the nature of sound, sound pressure level, frequency and pitch, hearing and sound perception, reflection, absorption and diffusion of sound, sound diffraction, room acoustics, reverberation, and studio design principles. The course also provides practical experience in audio recording including an introduction to recording studio equipment, microphones and microphone placement techniques, signal flow, amplification, analog and digital recording, analog to digital conversion, digital processing of sound, multi-track recording and an introduction to mixing and mastering. Each student is required to complete a substantive recording project at the end of the course.

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Continuation of MUR 201.

BUILDING: TODD | ROOM: 202F

This course covers the acoustical and psychoacoustic fundamentals of audio recording including the nature of sound, sound pressure level, frequency and pitch, hearing and sound perception, reflection, absorption and diffusion of sound, sound diffraction, room acoustics, reverberation, and studio design principles. The course also provides practical experience in audio recording including an introduction to recording studio equipment, microphones and microphone placement techniques, signal flow, amplification, analog and digital recording, analog to digital conversion, digital processing of sound, multi-track recording and an introduction to mixing and mastering. Each student is required to complete a substantive recording project at the end of the course.

BUILDING: CSB | ROOM: 423

Continuation of MUR 118. (2 credits)

BUILDING: ESM | ROOM: 443

Continuation of MUR 118. (2 credits)

BUILDING: MSH | ROOM: 414

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.

BUILDING: TODD | ROOM: 202F

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.

BUILDING: TODD | ROOM: 202F

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.

BUILDING: TODD | ROOM: 202

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.

BUILDING: TODD | ROOM: 202F

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.

BUILDING: LATT | ROOM: 431

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. The class is open to guitarists, bassists, drummers, keyboard players, and singers, with consideration given to winds players depending on repertory for a given semester. Students must audition for the RRE at the beginning of each term; a sign-up sheet will be posted in the Music Department.

BUILDING: STRNG | ROOM: LOWER

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**

BUILDING: TODD | ROOM: 202F

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BUILDING: CSB | ROOM: 412

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)

BUILDING: HUTCH | ROOM: 140

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.

BUILDING: STRNG | ROOM: UPPER

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)

BUILDING: OBRN | ROOM: DANCE

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.

BUILDING: GAVET | ROOM: 301

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

BUILDING: TODD | ROOM: 202F

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.

BUILDING: TODD | ROOM: 202

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)

BUILDING: TODD | ROOM: 202

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)

BUILDING: TODD | ROOM: 202F

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.

BUILDING: GAVET | ROOM: 208

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)

BUILDING: TODD | ROOM: 108

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.

BUILDING: LATT | ROOM: 201

Continuation of MUR 133.

BUILDING: STRNG | ROOM: LOWER

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.

BUILDING: TODD | ROOM: 202F

a basic understanding of sound design & creation, and working with sound for picture. The emphasis is on demonstrations and hands-on experience to enable students to gain a practical knowledge of sound and music production using computers. Topics include synthesizers & samplers; recording and editing with Pro Tools; sound effect creation; foley & automatic dialog replacement; basic soundtrack composition; and working to picture. Many techniques are explored employing software and hardware based sound creation tools throughout the course. Students will complete a major project at the conclusion of the course.

BUILDING: CSB | ROOM: 423

a basic understanding of sound design & creation, and working with sound for picture. The emphasis is on demonstrations and hands-on experience to enable students to gain a practical knowledge of sound and music production using computers. Topics include synthesizers & samplers; recording and editing with Pro Tools; sound effect creation; foley & automatic dialog replacement; basic soundtrack composition; and working to picture. Many techniques are explored employing software and hardware based sound creation tools throughout the course. Students will complete a major project at the conclusion of the course.

BUILDING: CSB | ROOM: 423

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.

BUILDING: GRGEN | ROOM: 108

Continuation of MUR 118. (2 credits)

BUILDING: ESM | ROOM: 443

Continuation of MUR 118. (2 credits)

BUILDING: MSH | ROOM: 414

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.

BUILDING: STRNG | ROOM: LOWER

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.

BUILDING: STRNG | ROOM: LOWER

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.

BUILDING: STRNG | ROOM: LOWER

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.

BUILDING: STRNG | ROOM: LOWER

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.

BUILDING: ESM | ROOM: 120

The course provides an in-depth study of Susan B. Anthony and the world in which she lived. In addition to focusing on the major political issues that occupied Anthony and her coworkers—women’s rights, abolition, and temperance—the class will explore the social and cultural world of America during the century between Anthony’s birth (1820) and the adoption of the 19th Amendment (1920), with special emphasis on American musical life during this time. The seminar-style course will incorporate in-class presentations and discussion, field trips, and writing assignments ranging from short response papers to a final research paper. No prerequisite. Humanities/writing intensive.

BUILDING: LATT | ROOM: 540

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BUILDING: TODD | ROOM: 202F

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BUILDING: LATT | ROOM: 210

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.

BUILDING: CHAPL | ROOM: SANC

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BUILDING: LATT | ROOM: 210

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BUILDING: TODD | ROOM: 202F

6ENS 216 (I, II-1) Mbira Ensemble May be repeated for credit.

BUILDING: ET | ROOM: 12

6ENS 215 (I, II-1) Mbira Ensemble: The Eastman Gamelan (angklung) performs traditional ceremonial music and new-style music (keybar) from Bali as well as new compositions for gamelan. Students studying another world music instrument or participating in another, non-Eastman world music ensemble may receive credit for this instruction on a case-by-case basis. May be repeated for credit.

BUILDING: ET | ROOM: 12

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.

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

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Devoted to specialized topics in Rock Music

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