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Music faculty Laura Lane directs the Knox College Choir in concert.

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; AC; This .5 credit course observes special scheduling, and will meet between weeks 4 and 8; Offered every year; J. Huguet; Staff;

MUS 101. , MUS 102 Introduction to Music I, II. (1)

These courses equip students to listen to, understand, and discuss music from the Western tradition and around the world. Selected works and traditions are considered from a variety of analytical, historical and cultural perspectives. For MUS 101, the repertoire is drawn from the middle ages through the early 19th century. For MUS 102, the repertoire is drawn from the 19th, 20th, and 21st centuries. ARTS; IC; L. Lane; N. Malley; P. Gradone;

MUS 125. Electronic Music. (1)

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. P. Gradone;

MUS 145. Music Theory I. (1)

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. ARTS; AC; J. Huguet; P. 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 210. Jazz History. (1)

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. (1)

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. (1)

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. (1)

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. (1)

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. (1)

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. Prerequisite(s): MUS 145; QR; J. Huguet;

MUS 246. Music Theory III. (1)

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. 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. (1)

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. (1)

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; P. Gradone;

MUS 260. Topics and Methods in Ethnomusicology. (1)

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. (1)

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. (1)

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 and permission of the instructor; P. Gradone;

MUS 307. Instrumental Teaching Techniques I. (1)

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. (1)

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. (1)

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. (1)

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; D. Wetmore;

MUS 313. Intermediate Choral Conducting. (1)

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 322. Seminar in 18th Century Music. (1)

This course considers musical culture of 18th century Europe. Our texts will include musical scores and recordings; treatments of music in contemporary criticism, journals, letters, and reviews; and present-day scholarship. Foci vary from year to year. Prerequisite(s): MUS 101, and either 245 or permission of the instructor; W; Course may be repeated for credit; J. Huguet;

MUS 324. Seminar in 20th Century Music. (1)

This course examines the development of musical styles in the 20th and 21st centuries in relation to a variety of aesthetic, social and compositional concerns. Coursework includes score study, analysis and listening, readings in literary theory and the visual arts, and readings from current musicological scholarship. Prerequisite(s): MUS 102, and either 245 or permission of the instructor; W; Course may be repeated for credit; N. Malley; P. Gradone;

MUS 345. Advanced Analysis Workshop. (1)

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; O in comb. with 361 or 363; 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 361. Music of the Renaissance and Baroque Eras. (1)

This course examines the music, composers and compositional styles of European music written between 1450 and 1750. Course work includes reading, listening, score study and discussion. Prerequisite(s): MUS 101 and 145; O in comb. with 345 or 363; L. Lane;

MUS 363. Music of the 19th Century. (1)

This course surveys 19th century composers from Beethoven to Mahler by examining symphonies, concertos, lieder, chamber music, piano music and opera. Prerequisite(s): MUS 102 and 246; O in comb. with 345 or 361; J. Huguet;

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, Performance, 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;

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. Enharmanic 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)

J. Marasa;

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; AC; 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)

Staff;

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

B. Russell;

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

D. Hoffman;

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)

Staff;

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;

A student rehearses with the Knox College Choir.
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Printed on Friday, May 24, 2019