Professors: Neely Bruce; Eric Charry, Mark Slobin
Associate Professors: Jane Alden, Chair; Su Zheng
Assistant Professor: Roger Matthew Grant, Paula Matthusen
University Professors: Ronald Kuivila, Sumarsam
Adjunct Professors: Abraham Adzenyah, Jay Hoggard
Adjunct Assistant Professor: B. Balasubrahmaniyan, David Nelson, Nadya Potemkina
Artists-in-Residence: Ron Ebrecht, I. Harjito
Private-lessons teachers: Pheeroan Aklaff, Drums; Garrett Bennett, Bassoon/Saxophone; John Bergeron, Recording Studio Production; Carver Blanchard, Guitar/Lute; Eugene Bozzi, Percussion/Drums; Nancy Brown, Classical Trumpet; Susan Burkhart, Guitar; Taylor Ho Bynum, Jazz Trumpet; Bill Carbone, Drums; Edwin Cedeno, Conga Drum, Taino Log Drumming, Afro-Cuban Percussion; Cem Duruoz, Guitar; Craig Edwards, Fiddle; Perry Elliot, Violin; Priscilla Gale, Voice; Giacomo Gates, Jazz Vocals; Robert Hoyle, French Horn; Chunseung Lee, Korean Drumming; Qi Liu, Piano; Tony Lombardozzi, Jazz/Blues Guitar; Jessica Meyer, Violin Pedagogy; Lisa Moore, Piano; Brian Parks, Harpischord; Julie Ribchinsky, Cello; Wayne Rivera, Voice; Erika Schroth, Piano; Stan Scott, Banjo/Mandolin/Guitar/North Indian Vocal; Megan Sesma, Harp; Fred Simmons, Jazz Piano; Peter Standaart, Flute; Charlie Suriyakham, Clarinet; Libby Van Cleve, Oboe; Marvin Warshaw, Viola; Matthew Welch, Bagpipes; Roy Wiseman, Bass; Chai-Lun Yueh, Voice
Undergraduate Departmental Advising Experts 2014-2015: Ronald Kuivila and Balasubrahmaniyan
The Music Department offers courses in music from around the world at undergraduate and graduate levels. Students considering a music major should come to the department office where they will be given an in-house concentration form and assigned a major advisor. Students design their own individualized program of study and complete the concentration form in consultation with their advisor, listing all music courses previously taken and those planned for the future. Because the program proposal must be approved by the director of undergraduate studies and ratified by the entire music faculty, prospective majors are urged to complete this form two weeks before the deadline for declaration to allow for music faculty action.
Music majors are advised to complete their general education expectations (three each of HA, NSM, and SBS courses). Prospective majors who have not taken enough courses outside of the Music Department may be refused entry into the major. Students who fail to fulfill the general education expectations are generally not considered for department prizes and honors.
With the exception of MUSC 300, all classes offered by the Music Department are open to nonmajors.
Major programs are put together by the students in consultation with their advisors. The programs reflect the individual interests and needs of the students. The department requires that a program proposal, including all music courses previously taken and those planned for the future, be submitted at the time of application to be a major. A major program should have a healthy balance between classroom courses (history, theory, style) and performance courses (private instrumental and vocal instruction, ensemble). It is a fundamental principle of the Wesleyan music program that the study of music and the experience of music should reinforce and inspire each other. A major program must show evidence of work in at least one musical tradition outside the area of the student's prime concentration. The understanding that comes with new experiences is an essential part of the music opportunity at Wesleyan.
The possible foci of study include Western classical music; new music with an emphasis on acoustical explorations; African American, Indonesian, Indian, and African musics; and European and American music outside the art tradition. These and other possibilities are not mutually exclusive but can be studied in combinations that reflect the interests of individual students. The music profession is international. In many areas of music study, at least one foreign language is essential.
Prerequisites to the music major:
- 1 year of music theory (MUSC103 & MUSC201) or passing the equivalent by exam. See Advanced Placement below for AP credit questions.
- 1 course in the history/culture capability
- 1 performance course - Private lessons taken before the junior year (MUSC405) will satisfy the prerequisite but will not count toward the course requirements for the major.
Music majors take four courses in each of three capabilities: theory/composition, history/culture, and performance. Two additional courses from the 300-level Seminars for Music Majors bring the number of music credits to 14. The required senior project or senior honors thesis brings the total number of music credits to 15 or 16, respectively. Diversity of musical experience is a core value of the Music Department and is expected of all music majors. To move toward this goal, at least two of the 14 music credits must be outside the student's main area of interest.
The Music Department expects its majors to continue to refine and extend their performance skills throughout their undergraduate careers, which may mean accumulating more than 15 or 16 credits in music. No more than 16 credits in music may be counted toward the 32 credits required for graduation, however, and students must therefore complete 16 or 17 credits outside of music.
All music majors are required to complete a senior project by the end of their final year. The purpose of the project is to give focus to the major by means of independent, creative work and to encourage independent study with the close advice and support of a faculty member. Students who choose to undertake an honors thesis may count this as their senior project.
The senior project requirement may be satisfied by the completion of an honors project, a project that may encompass a composition, a concert, etc., but the honors project always contains a substantial written component; for this reason it is called the honors thesis. An honors thesis satisfies the departmental requirement for a senior project, even if it is not awarded Honors. The honors thesis tutorial is always a two-semester undertaking.
- AP Theory Credit
- credit on the student's Wesleyan transcript
- Counts as one of the 4 theory/composition requirements for the music major
- Student needs to complete 3 additional theory/composition credits for the major
- Passed the AP test with a 4 or 5 - does not have the credit on their Wesleyan transcript
- Student may begin theory coursework at a higher level
- Student will still be required to take 4 theory/composition courses for the major
- Students with questions regarding AP Theory
- Should meet with the theory faculty of the Music Department teaching MUSC103 to discuss options.
The Gwen Livingston Pokora Prize, the Lipsky Prize, the Elizabeth Verveer Tishler Prize, the Samuel C. Silipo Prize, and the Leavell Memorial Prize are merit-based awards that may be awarded annually.
This program provides an attractive option for music majors to enrich their course and research background. Students are advised to begin research by their junior year if they intend to pursue the BA/MA. Admission is competitive and based on GPA, faculty recommendations, and research experience. For more information, please visit http://www.wesleyan.edu/grad/degree-programs/ba-ma.html.
Special activities. The department supports a number of unusual activities, many of which are available to the student body in general as well as to music majors. Among them are ensembles in various Asian, African, American, and European traditions, as well as a variety of chamber ensembles.
Private-lessons program. Private lessons are available for many instruments and voice in Western art music, African American music, and a variety of other musics from around the world. Lessons are considered one-credit-per-semester courses. An additional fee, $795 per semester, is charged for these private lessons (financial aid may be available to students eligible for University financial aid). Approved music majors in their junior and senior years are eligible for partial subsidy when taking one (1) private lesson, per semester, for academic credit with a private-lessons teacher.
Departmental colloquium. An ongoing departmental colloquium is intended for the entire music community. It includes presentations by Wesleyan faculty, students, and outside speakers and encourages general discussion of broad issues in the world of music.
The study facilities include a working collection of musical instruments from many different cultures; a music-instrument manufacturing workshop; a 45-piece Javanese gamelan orchestra; a large formal concert hall and a small, multipurpose concert hall; an electronic music studio coupled to a professional recording studio; a computer-arts studio capable of producing electronic music, video art, and environmental simulations; a music and record library; an electronic keyboard lab; and an archive of world music.
The following is a listing according to capabilities of courses offered by the department:
- MUSC103 Materials and Design
- MUSC201 Tonal Harmony
- MUSC106 History of European Art Music
- MUSC108 History of Rock and r&b
- MUSC109 Introduction to Experimental Music
- MUSC110 Introduction to South Indian Music
- MUSC111 Music and Theater of Indonesia
- MUSC122 Introduction to Folk Music Studies
- MUSC123 Escaping Purgatory: Music and Devotion in Medieval Europe
- MUSC125 Music and Downtown New York, 1950-1970
- MUSC202 Theory and Analysis
- MUSC203 Chromatic Harmony
- MUSC204 20th-Century Compositional Techniques
- MUSC206 18thCentury Counterpoint
- MUSC209 Readings in Music Theory: Reimagining Tonality
- MUSC210 Theory of Jazz Improvisation
- MUSC212 South Indian Music-Solkattu
- MUSC220 Composing, Performing, and Listening to Experimental Music
- MUSC223 Music, Recording, and Sound Design
- MUSC241 Medieval and Renaissance Music
- MUSC242 Baroque and Classical Music
- MUSC243 Music of the 19th Century
- MUSC244 Music of the 20th Century
- MUSC261 Music and Modernity in China, Japan, and Korea
- MUSC265 African Presences I: Music in Africa
- MUSC266 African Presences II: Music in the Americas
- MUSC269 Sacred and Secular African American Musics
- MUSC270 Music of Coltrane, Mingus, and Coleman
- MUSC271 Music of Lennie Tristano, Miles Davis, and Max Roach
- MUSC274 Hymnody in the United States Before the Civil War
- MUSC276 History of Musical Theater
- MUSC280 Sociology of Music in Social Movements
- MUSC285 Wagner and Modernism
- MUSC290 How Ethnomusicology Works
- MUSC291 The Gendering of Music in Cross-Cultural Perspective
- MUSC295 Global Hip-Hop
- MUSC296 Music and Public Life
- MUSC297 Yiddish Cultural Expression: Music, Theater, Literature, Film
- MUSC300 Seminar for Music Majors
- MUSC308 Composition in the Arts
- MUSC405 Private Music Lessons (nonmajors)
- MUSC406 Private Music Lessons (majors)
- MUSC413 Korean Drumming Ensemble—Beg
- MUSC414 Korean Drumming Ensemble—Advanced I
- MUSC415 Korean Drumming Ensemble—Advanced II
- MUSC416 Beginning Taiko-Japanese Drumming
- MUSC417 Intermediate Taiko—Japanese Drumming
- MUSC418 Advanced Taiko-Japanese Drumming
- MUSC428 Chinese Music Ensemble
- MUSC430 South Indian Voice—Beginning
- MUSC431 South Indian Voice—Intermediate
- MUSC432 South Indian Voice—Advanced
- MUSC433 South Indian Music—Percussion
- MUSC436 Wesleyan Concert Choir
- MUSC437 Singing to Your Instruments
- MUSC438 Wesleyan University Collegium Musicum
- MUSC439 Wesleyan University Orchestra
- MUSC440 Conducting: Instrumental and Vocal
- MUSC441 Pipe Organ: Theory and Practice
- MUSC442 Chamber Music Ensemble
- MUSC443 Wesleyan Wind Ensemble
- MUSC444 Opera and Oratorio Ensembles
- MUSC445 West African Music and Culture—Beginners
- MUSC446 West African Music and Culture—Intermediate
- MUSC447 West African Music and Culture—Advanced
- MUSC448 Ebony Singers: Gospel Music
- MUSC450 Steel Band
- MUSC451 Javanese Gamelan—Beginners
- MUSC452 Javanese Gamelan—Advanced
- MUSC453 Cello Ensemble
- MUSC454 World Guitar Ensemble
- MUSC455 Jazz Ensemble
- MUSC456 Jazz Improvisation Performance
- MUSC457 Jazz Orchestra I
- MUSC458 Jazz Orchestra II
- MUSC459 Materials and Principles of Jazz Improvisation I
- MUSC460 Materials and Principles of Jazz Improvisation II
- MUSC461 Balinese Gamelan—Anklung
- MUSC464 Laptop Ensemble
- MUSC500 Graduate Pedagogy
- MUSC506 Reading Ethnomusicology
- MUSC507 Practicing Ethnomusicology
- MUSC508 Graduate Seminar in Composition
- MUSC509 Special Studies in Contemporary Music
- MUSC510 Graduate Proseminar in World Music Studies
- MUSC513 Improvisation in Cross-Cultural Perspective
- MUSC516 Seminar in Indonesian Music
- MUSC519 Current Issues in Ethnomusicology
- MUSC520 Explorations in Musicology
- MUSC521 Seminar in Interdisciplinary Studies
- MUSC522 Seminar in Comparative Music Theory
- MUSC530 Colloquium
Director of Graduate Studies in Music: Sumarsam
The World Music Program offers degrees at both the master's and doctoral levels. The MA in music has concentrations in scholarship (ethnomusicology/musicology), experimental music/composition, and performance. The PhD is in ethnomusicology only. Many musics are represented by faculty members through teaching and performing African American, Indonesian, West African, the Caribbean, East Asian, South Indian (Karnatak), Euro-American, and experimental music, and there are many opportunities for individual and ensemble study/performance.
Degree of master of arts - A total of 11 credits of course work. Students are required to take the Graduate Proseminar in World Music Studies (MUSC510), four graduate seminars other than MUSC510 (two in the area of concentration); two performance courses; a course outside the department; a two-semester thesis tutorial (MUSC591/592), and four semesters of MUSC530 the Music Department Colloquium.
Degree of doctor of philosopy - Satisfactory completion of courses totaling at least 12 credits. Students are required to take three core seminars (MUSC519, 521, 520/522), three elective graduate-level seminars other than the core seminars (two of which may be satisfied with appropriate courses already taken at the master's level), two credits of performance (in different musics), one course outside the department, two credits of thesis tutorial (MUSC591/592), and four semesters of MUSC530 Music Department Colloquium.
One foreign language is required for the MA. All incoming students are required to take the language examination administered by the department at the beginning of their first term.
Two foreign languages are required for the PhD: one field language and one research language. All incoming students are required to take the language examination administered by the department at the beginning of their first term.
Qualification for the degree of doctor of philosophy. At the conclusion of the second year in residence, students take a qualifying examination consisting of a set of essays and a follow-up oral examination.
Thesis and defense. The thesis must constitute an archivable product displaying mastery of and an original contribution to the understanding of an aspect of world music. The MA thesis may follow various formats and modes of musical investigation, but performance per se does not constitute a thesis without substantial written ancillary materials. Work such as bibliographies, translations, and journals do not normally constitute theses. After completing all department requirements and acceptance of the thesis by the committee, the candidate is scheduled for an oral thesis defense administered by the committee.
Dissertation and defense.The dissertation must constitute an archivable product displaying mastery of and an original contribution to the understanding of an aspect of world music. After completing all department requirements and acceptance of the dissertation by the committee, the candidate is scheduled for an oral dissertation defense administered by the committee.