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Students in a music class applaud a performance during the final week of the academic term.

Courses

Department Chair

Nikki Malley

Associate Professor & Chair of Music

2 East South Street

Galesburg, IL 61401-4999

nmalley@​knox.edu

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Envelopes filled with lyrics for the choir.

MUS 100 Music Reading and Skills (1/2)

MUS 100 introduces students to musical notation and organization, including pitch, rhythm, meter, scales, intervals, and chords. Analysis, composition, aural, and keyboard assignments allow students to make connections between the written information communicated by a score or lead sheet and the actual experience of listening to music. Prerequisite(s): MUS 100 or successful conpletion of Music Fundamentals proficiency exam; This .5 credit course observes special scheduling, and will meet between weeks 2 and 8; Offered every year; N. Malley

MUS 101 Listening to Music

This course equips students to listen to, understand and discuss music from the Western tradition. Selected works and traditions are considered from a variety of analytical, historical and cultural perspectives. IC; Offered every year; L. Lane

MUS 111 Class Piano I (1/2)

Class Piano I is designed for declared or intended music majors and minors with little or no keyboard experience. Music majors will develop functional keyboard skills including reading, rhythm, technique, and musical style in a group instruction setting. Students will gain a better understanding of concepts learned in the music theory course sequence as they are applied to the keyboard. This is the first of two group-piano classes for beginners that will help fulfill the requirements for Level 1 of the piano proficiency exam. While class piano is designed for intended or declared music majors, non-majors with interest in music who have basic music reading skills as demonstrated by successful completion of the proficiency exam, MUS 100, or permission of the instructor are welcome in the course. Prerequisite(s): Successful completion of the proficiency exam, MUS 100, or permission of the instructor; Offered annually; A. Mack

MUS 112 Class Piano II (1/2)

Class Piano II is designed for declared or intended music majors and minors who have taken Class Piano I and have learned basic keyboard skills. Students will continue to develop their skills in a group instruction setting and will further enhance their understanding of concepts learned in the music theory course sequence as they are applied to the keyboard. Successful completion of all class components will fulfill the requirements for Level 1 of the piano proficiency exam. Prerequisite(s): MUS 111 or permission of the instructor; Offered every year; A. Mack

MUS 116 History of Rock

History of Rock traces the evolution of Rock'n'Roll and its various subgenres throughout the 20th and 21st centuries - from its roots in turn-of-the-century America to the British Invasion to the rise of punk, grunge and heavy metal. While focusing on rock's historical and social contexts, students also develop skills for the analysis and criticism of popular music. Additionally, this class examines rock in visual media through documentary films and music videos while exploring its sociopolitical impact with readings from primary sources and contemporaneous journalism. Offered alternate years; J. Gradone

MUS 125 Digital Audio Production

The transformation of sound into digital data has profoundly affected the creation, production and distribution of music. With the vast majority of music now mediated by some form of digitization, even our basic modes of listening have been shaped by it. This course grapples with the implications of this technology, its history, and its broad range of uses and tools. In doing so, students utilize the Knox Electronic Music Studio to explore the foundational techniques of audio production, synthesis, sampling, podcasting, film scoring, and interactive software development. J. Gradone

MUS 130 Music and Social Movements

Music is a powerful force, amplifying the message of a social movement. Beyond affirmation of political beliefs, what functions can music serve in a movement? Under what conditions can music affect social change and mobilize political resistance? How can we evaluate the effect of music on a movement community and the society, state, or nation? Through global case studies representing both successful and failed social movements through history, this course considers the functions of music in social movements including ideological expression, education, conversion, identity formation, recruitment, mobilization, transformative experience, ritual, fundraising, and internal debate. PI; Offered alternate years; N. Malley

MUS 131 The Broadway Musical

This course surveys Golden Age and contemporary Broadway musicals from Oklahoma to Hamilton, with an emphasis on the evolving compositional and dramatic idioms of the genre. Students explore the musical as a multifaceted work of performance art from the perspectives of the composer, the librettist, the director, the performers, and the audience. In addition, students consider how the Broadway musical has reflected and commented upon American history, culture, and social movements over the course of its history. Assignments include listening reflections, three short papers, and a final exam. IC; Offered alternate years; J. Huguet

MUS 145 Music Theory I

Begins a three-course introduction to tonal harmony. MUS 145 will discuss the basic formal, melodic, and harmonic structures that underlie a variety of musical genres. Work will include analysis and composition, as well as general musicianship training (i.e., sight-singing, transcription, and basic keyboard skills). Three class periods plus two Musicianship labs per week (MUS 145L). ARTS; Prerequisite(s): MUS 100 or passing Music Proficiency Exam; AC; J. Huguet; J. Gradone

MUS 182 Voice Class (1/2)

Class instruction in singing. Basic techniques, skills and vocal literature. This course is particularly for those who have musical ability but little or no previous vocal instruction. May be repeated once for credit; L. Wood

MUS 201 Research Methods in Music

This course serves as an introduction to the academic study of music. Students consider conceptions of historical periods, genre, and the canon; become familiar with advanced information fluency tools in the discipline; and build critical reading and writing skills. Prerequisite(s): MUS 145 and one additional 100-level music course (not MUS 100 or lessons); Offered every year; N. Malley; J. Gradone; J. Huguet

MUS 210 Jazz History

This course broadens students' knowledge of the spectrum of recorded jazz with a heavy emphasis on listening, primary source readings, speaking, and critical writing. The course examines the basic musical elements that define jazz as a unique musical idiom by examining stylistic periods, major innovators, performers and composers, issues of improvisation, and musical practices. Primary source readings contextualize music through discussions of the complex relationships between jazz, ethnicity, gender economics, politics and social history. HUM; Cross Listing: AFST 210;AFST 210; DV; IC; PI; N. Malley

MUS 220 Opera Workshop

This course focuses on the vocal and dramatic techniques required to perform opera, with some exploration of technical aspects of opera production. Each student is cast in at least one scene from an opera, appropriate for his/her voice, and is responsible for at least one aspect of production. The course culminates in a public performance of scenes from opera. ARTS; Prerequisite(s): permission of the instructor and two terms of private voice; May be repeated once for credit; A. Meuth

MUS 230 Case Studies in Musics of the World

This course broadens students' knowledge of non-Western musics. Heavy emphasis on listening, speaking, and writing critically. Through case studies from regions around the world, we examine musical sound, production, and consumption, and investigate the role music plays in culture, as it is incorporated into family, community, religion, Diaspora, politics, ritual, and aesthetic experience. HUM; DV; N. Malley; staff

MUS 237 Music and Culture in the Americas

This class seeks to understand music making and dance as powerfully affective expressive cultural practices that people invest with social value and meaning. We will study a series of conceptual frameworks as well as basic music terminology for thinking about, listening to, and discussing music in specific cultural contexts. Case studies covered include music making in Cuba; Brazil; indigenous and mestizo musics in Peru; North American old-time country, music of the 'folk revival', and of the civil rights movement, among other case studies. This class is designed for non-music majors (although music majors are certainly welcome). Prerequisite(s): ANSO 102 or 261 or permission of the instructor; Cross Listing: ANSO 237; DV; W. Hope

MUS 244 Philosophy of Music

This course considers the nature of music and its significance. Our central question will be: in what ways can music be meaningful? More specific questions may include: What is a musical work? What determines whether performances are authentic or good? Why do we sometimes find music to be not just enjoyable but also intensely moving and even profound? We approach these questions through a careful examination of key texts and arguments in musical aesthetics, and with respect to a variety of musical styles. No special knowledge of philosophy or music is presupposed for students entering the class. HUM; Cross Listing: PHIL 244; IC; B. Polite

MUS 245 Music Theory II

A continuation of MUS 145, with an emphasis on eighteenth-century music and on techniques related to diatonic modulation. Students will compose several works in eighteenth-century idioms. Three class periods plus two Musicianship labs per week (MUS 245L). Prerequisite(s): MUS 145; QR; J. Huguet

MUS 246 Music Theory III

A continuation of MUS 245, with an emphasis on nineteenth- and twentieth-century music and on chromatic materials. Students will present their own analyses of representative works to the class, as well as compose several pieces in nineteenth-century idioms. Three class periods plus two Musicianship labs per week (MUS 246L). Prerequisite(s): MUS 245; J. Huguet

MUS 248 Teaching Assistant (1/2 or 1)

Prerequisite(s): Permission of instructor; May be graded S/U at instructor's discretion; Staff

MUS 254 Music of the African Diaspora

This course examines the transmission of music from Africa throughout Europe, South America, Latin America, the Caribbean, and the U.S. We examine the ways in which African musical systems have traveled, changed, and incorporated new sounds, how the African experience differs around the globe and how displaced communities share core social processes and characteristics. Students examine the concept of blackness as a broad and heterogeneous set of qualities that extend beyond the boundaries of Africanism and African-Americanism. Music studied includes West, North and South Africa, Reggae, Jazz, Blues, Afro-Cuban Santeria, Samba, Candomble, Cap0eira, Merengue, and World Beat. Prerequisite(s): sophomore standing or permission of the instructor; Cross Listing: AFST 254; O; DV; PI; N. Malley

MUS 257 Songwriting Workshop

This course explores the writing and analysis of popular song by engaging with a wide range of musical styles and approaches, from the Beatles to Kendrick Lamar to Joni Mitchell. Students not only learn to create and develop an original song, but also participate in the process of production and the logistics of performance. Most importantly, this workshop encourages students to explore their own unique poetic and musical voices in a supportive environment. Prerequisite(s): MUS 145; J. Gradone

MUS 260 Topics and Methods in Ethnomusicology

Ethnomusicology can be defined as the study of music outside the Western classical tradition, or as the study of music as cultural practice. Our modes of ethnomusicological inquiry may include structural functionalism, paradigmatic structuralism, Marxist explanations, literary and dramaturgical theories, performance theory, gender and identity issues, and postcolonial and global issues. Cross Listing: ANSO 260; O; DV; Staff

MUS 270 Musical Improvisation - Critical Perspectives

How do scholars and performers approach, teach, analyze, and critique improvisatory practices? Through global, Western canonical, and avant-garde case studies, we will examine improvisation through a number of critical lenses including construction and expression of identity, articulation and performance of culture, somatic practice, creative and formulaic processes, modes of analysis and critique, notation (or lack thereof), and the social functions of improvisation both within the ensemble and between performer and audience. This course is not designed to instruct performers on the applied practices of improvisation, and as such, requires no previous improvisation performance experience. Prerequisite(s): Sophomore standing and previous coursework in Music, Theatre, Studio Art, Art History, or Creative Writing; Offered alternate years; N. Malley

MUS 295 Special Topics (1/2 or 1)

Courses offered occasionally to students in special areas of Music not covered in the usual curriculum. Staff

MUS 303 Composition

This course introduces the fundamental concepts of composition - harmonic and melodic writing, instrumentation, form - through the creation and performance of short pieces for various instruments and voices. Prerequisite(s): MUS 246 or permission of the instructor; J. Gradone

MUS 306 Orchestration

Orchestration is the transformation of musical abstraction to physical sound. This course explores how composers of the past and present have chosen to express their ideas through an endless variety of instrumental combinations. Throughout the term, students learn basics of instrumentation such as the range and sound of orchestral instruments, their various combinations, the historical development of the symphony orchestra, and orchestral literature from the 18th to the 21st centuries. Projects include the orchestration of short piano works, analysis of historical re-orchestrations and a final creative or research project. Prerequisite(s): MUS 246 or permission of the instructor; Offered alternate years; J. Gradone

MUS 307 Instrumental Teaching Techniques I

This is the first of a sequential, two-term course that is dedicated to the preparation of successful teachers of scholastic instrumental music. Topics to be covered will include recruiting, scheduling, curriculum development, methods and materials, selecting literature, and running effective rehearsals. Emphasis will be placed on developing proper playing techniques and pedagogy for brass and percussion instruments. Some clinical observation experiences will be required. Prerequisite(s): MUS 246; D. Petrie

MUS 308 Instrumental Teaching Techniques II

Continuing the format of MUS 307, this course will address the organizational and administrative aspects of teaching instrumental music. Emphasis will be placed on developing proper playing techniques and pedagogy for woodwind and stringed instruments. Some clinical observation experiences will be required. Prerequisite(s): MUS 307; D. Petrie

MUS 309 Secondary School Choral Methods

This course will identify objectives, problems, and methods of teaching vocal music in the schools. Students will acquire functional knowledge of fretted and classroom instruments; methods of teaching singing, rhythmic, and listening activities; the changing voice; and beginning and intermediate choral techniques. Directed observation in elementary and secondary schools required. Prerequisite(s): MUS 246; C. Kellert-Griffiths

MUS 310 Vocal Pedagogy (1/2 or 1)

Includes methods of teaching voice, concentrating on posture, breath management, vowel clarity and placement, legato singing, diction, and developing good choral tone. Students sing for and teach each other. Course will normally be offered for 1 credit, but in exceptional circumstances Music Education students can apply for permission to take it for two terms at 0.5 credits each. Prerequisite(s): Three terms of MUS 300S; A. Meuth

MUS 311 Fundamentals of Conducting

A study of basic conducting techniques, including conducting patterns, beat styles, attacks and releases as they apply to a variety of musical phrases and shorter pieces of music. Both vocal and instrumental musical examples will be used. Prerequisite(s): MUS 246; D. Petrie

MUS 313 Intermediate Choral Conducting

Students continue to develop their conducting technique, both with and without the baton. Students also study score preparation and rehearsal technique, with a focus on choral literature. Prerequisite(s): MUS 246 and 311; L. Lane

MUS 330 Seminar in Renaissance and Baroque Music

This course examines musical culture and practice in the Western European tradition before 1750. Course texts include musical scores and recordings, treatments of music in contemporary criticism, journals, letters, and reviews, and contemporary scholarship from the fields of musicology, theory, and associated academic disciplines. Topics and foci vary from year to year. Coursework will include a major research paper. Prerequisite(s): MUS 201 and MUS 245; Offered alternate years; L. Lane

MUS 331 Seminar in Common-Practice Music

This course examines musical culture and practice in Common Practice tradition (ca. 1750-1900). Course texts include musical scores and recordings, treatments of music in contemporary criticism, journals, letters, and reviews, and contemporary scholarship from the fields of musicology, theory, and associated academic disciplines. Topics and foci vary from year to year. Coursework will include a major research paper. Prerequisite(s): MUS 201 and MUS 245; Offered alternate years; J. Huguet

MUS 332 Seminar in Music of the Modern Era

This course examines musical culture and practice in the realms of art music of the Modern Era (1900-present). Course texts include musical scores and recordings, treatments of music in contemporary criticism, journals, letters, and reviews, and contemporary scholarship from the fields of musicology, theory, and associated academic disciplines. Topics and foci vary from year to year. Coursework will include a major research paper. Prerequisite(s): MUS 201 and MUS 245; Offered alternate years; N. Malley

MUS 333 Seminar in Jazz Topics

This course examines musical culture and practice(s) in jazz. Course texts include musical recordings (audio and video) and scores, treatments of music in contemporary criticism, journals, letters, and reviews, and contemporary scholarship from the fields of musicology, theory, and associated academic disciplines. Topics and foci vary from year to year. Coursework will include a major research paper. Prerequisite(s): MUS 201 and MUS 245; Offered alternate years; N. Malley

MUS 334 Seminar in Popular Music

This course examines musical culture and practice(s) in Popular Musics. Course texts include musical recordings (audio and video) and scores, treatments of music in contemporary criticism, journals, letters, and reviews, and contemporary scholarship from the fields of musicology, theory, and associated academic disciplines. Topics and foci vary from year to year. Coursework will include a major research paper. Prerequisite(s): MUS 201 and MUS 245; Offered alternate years; N. Malley; J. Gradone

MUS 340 Advanced Composition Studio

Advanced Composition Studio is an intensive creative course in which students produce original musical works for various instrumentations and media. The course builds upon the principles and skills developed in Composition (MUS 303), and is a combination of studio classes and individual lessons in which enrolled students work closely with the instructor on the development, notation and eventual performance of contemporary music. Students will be encouraged to push the boundaries of experimentation beyond the guidelines of historical or conventional styles. Prerequisite(s): MUS 246, MUS 303, and permission of the instructor; Offered every year; J. Gradone

MUS 345 Advanced Analysis Workshop

This course provides students with the opportunity to engage in advanced music analysis and to develop their own analytical research project. Students will begin by considering why and how we analyze tonal music, reading published analyses of works written in a wide variety of styles and genres. Then, students will propose an analysis project, develop a plan for effectively analyzing their chosen piece of music, and present their research to the class. Prerequisite(s): MUS 246; J. Huguet

MUS 348 Teaching Assistant (1/2 or 1)

Prerequisite(s): Permission of instructor; May be graded S/U at instructor's discretion; Staff

MUS 395 Special Topics (1/2 or 1)

Courses offered occasionally to students in special areas of Music not covered in the usual curriculum. Staff

MUS 399 Senior Capstone (1/2 or 1)

Independent study in Music Theory, Musicology, Ethnomusicology, Performance, Conducting, Music Education/Pedagogy, or Composition with a faculty mentor. The capstone will be designed and agreed upon by the student and instructor according to the student's particular needs and interests. The capstone experience could include projects such as: A lecture/recital, a senior recital, a significant composition, or a major research paper. N. Malley; J. Huguet; L. Lane

MUS 400 Advanced Studies (1/2 or 1)

See College Honors Program. Staff

MUSE 180 Applied Music Group Performance (1/2)

Performance for one year in a faculty-supervised performing ensemble. Students receive credit in the spring for participation through the academic year. All MUSE credits are S/U graded.

MUSE 180A Knox College Choir (1/2)

L. Lane

MUSE 180B Knox-Galesburg Symphony (1/2)

N. Malley

MUSE 180C Knox College Chamber Singers (1/2)

L. Lane

MUSE 180D Knox College Jazz Ensemble (1/2)

N. Malley

MUSE 180G Combos (1/2)

N. Malley

MUSE 180H Galesburg Community Chorus (1/2)

T. Pahel

MUSE 180I Small Ensembles (1/2)

Staff

MUSE 180K Enharmonic Fire (1/2)

T. Clark

MUSE 180L TriTones (1/2)

T. Clark

MUSE 180M New Music Ensemble (1/2)

J. Marasa

MUSE 180N Knox Chamber Winds (1/2)

J. Marasa

MUSE 180O Knox Chamber Brass (1/2)

D. Petrie

MUSE 180P Knox Chamber Percussion (1/2)

N. Malley

MUSL 100 , A-ZZ Applied Music (.0 or 1/2)

Private instruction at an introductory level in the instruments listed below. May be repeated for credit. A maximum of 1.5 credits in each of MUS 100, MUS 200, and MUS 300 may be counted toward graduation. Note: There is a $335 fee for private lessons. See Other General Fees, under Tuition and Fees. ARTS; Staff

MUSL 100A Bassoon (.0 or 1/2)

A. Lyle

MUSL 100B Cello (.0 or 1/2)

C. Suda

MUSL 100C Clarinet (.0 or 1/2)

J. Marasa

MUSL 100D Double Bass (.0 or 1/2)

S. Jackson

MUSL 100E Flute (.0 or 1/2)

D. Cooksey

MUSL 100F Classical Guitar (.0 or 1/2)

R. Pobanz

MUSL 100H French Horn (.0 or 1/2)

J. Betts

MUSL 100I Oboe (.0 or 1/2)

S. Faust

MUSL 100J Organ (.0 or 1/2)

M. Harlan

MUSL 100K Percussion (.0 or 1/2)

J. Brannon

MUSL 100L Classical Piano (.0 or 1/2)

A. Mack; C. Dierlam; M. Harlan; J. Johnson

MUSL 100M Saxophone (.0 or 1/2)

J. Forbes; J. Marasa

MUSL 100N Trombone (.0 or 1/2)

B. Russell

MUSL 100O Trumpet (.0 or 1/2)

D. Lyle

MUSL 100P Tuba (.0 or 1/2)

D. Petrie

MUSL 100Q Viola (.0 or 1/2)

Staff

MUSL 100R Violin (.0 or 1/2)

Staff

MUSL 100S Voice (.0 or 1/2)

L. Lane; A. Meuth; L. Wood; T. Bostwick; T. Clark

MUSL 100T Jazz Guitar (.0 or 1/2)

A. Crawford

MUSL 100U Jazz Piano (.0 or 1/2)

Staff

MUSL 100V Euphonium (.0 or 1/2)

D. Petrie

MUSL 100W Jazz Percussion (.0 or 1/2)

J. Brannon

MUSL 100X Jazz Saxophone (.0 or 1/2)

J. Forbes

MUSL 100Z Jazz Bass (.0 or 1/2)

A. Crawford

MUSL 200 , A-ZZ Applied Music (.0 or 1/2)

Private instruction at an intermediate level. Enrollment by permission only. For full list of instruments, see MUSL 100. ARTS; Staff

MUSL 300 , A-ZZ Applied Music (.0 or 1/2)

Private instruction at an advanced level. Enrollment is by permission only. For full list of instruments, see MUSL 100. ARTS; Staff

Professor Laura Lane directs a Knox College Choir concert.
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Printed on Saturday, August 24, 2019