Button Menu
MUS 380

21CM Topics

Investigations of specialized topics in entrepreneurship and music business. These courses expand upon other courses offered in the 21CM curriculum.

Distribution Area Prerequisites Credits

Fall Semester information

Kristina Boerger

380A: 21CM Topics: Hearing Culture: What's Music Got to do with it?

Nicole Brockmann

380B: 21CM Topics: Dalcroze Eurhythmics

This course combines experiential and traditional ways of exploring the relationship between our aural and physical understanding of and response to music. In Dalcroze Eurhythmics, we use the body to directly experience how musicianship develops through sensitivity to physical energy. Although this is largely a movement class, it is not dance. Instead, it uses ordinary movement like walking or tossing a tennis ball as ways of discovering how musical energy works in parallel with the body's experience of rhythm and physical energy. Classwork includes movement games and study as well as regular performance clinics, in which we use Eurhythmics techniques to actually improve student musical performance on the instrument. Our movement work is done barefoot, so students should wear comfortable clothing and plan to remove shoes and socks before each class.

Spring Semester information

Kristina Boerger

380A: 21CM Tps:Music & Social Justice: Choral Singing and the Carceral State

For musicians desiring to assist music-making at Putnamville Correctional Institute: At the start, this course will provide an overview of the movement to facilitate music-making in the nation's prison systems; the bulk of the course will prepare students for and involve them in direct musical service to the inmates at Putnamville.

Ayden Adler

380B: 21CM Tps:Innovation in Audience Engagement

Audience engagement practices at contemporary arts organizations span initiatives related to artistic planning, education, community engagement, marketing, public relations, and fundraising. Using data from audience surveys, and examining audience engagement strategies currently employed by various music organizations and artists, this class teaches students best practices in audience engagement. The course will also teach and employ ethnography and design anthropology to examine and critique current audience engagement practices and come up with innovative alternatives. Theorizing an audience-centered organizational structure, students will be guided towards the creation and implementation of their own audience engagement strategies for concerts in which they and their colleagues perform this semester. We will also discuss securing resources for audience engagement strategies, as well as various modes of assessment.

Eliza Brown

380C: 21CM Tps:Composition

Fall Semester information

Eliza Brown

380A: 21CM Tps:Composition

Eric Schmidt

380B: 21CM Tps:Choral Arranging

This class will provide a framework for developing choral arranging ability. In contrast to composing music, arranging approaches writing from the perspective of creating a musical setting for an already existing melody. In a first step, we will briefly focus on gathering/reviewing different tools from music theory, musicianship, proper music notation (including the use of software), and aspects that are significant to writing for the voice. The majority of the class, students will apply these tools to evaluate existing arrangements and to create their own arrangements for different groups and in different styles. It is crucial that students commit to a safe and supportive learning atmosphere in which we can discuss individual assignments to learn from each other's experience.

By the end of the class, students will be able to

  • Identify and arrange music that is effective for the voice
  • Harmonize vocals for different formats
  • Plan and execute a choral arrangement with or without instrumental accompaniment
  • Use music notation software to properly score their arrangements