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Smith faculty offer performance courses in voice and a wide variety of instruments, and members of the department direct performance ensembles. The department boasts extraordinary practice facilities and a remarkable number of notable graduates who have led distinguished musical careers in performance, scholarship and the practical world of music.
Majors who have demonstrated an exceptional commitment to performance studies may, before March of their junior year, audition before a department committee for admission to the focus in performance, which consists of enrollment in MUS 940Y and the preparation of a full recital during the senior year.
Students who are contemplating graduate work in any branch of music should consult an appropriate member of the department for advice in selecting suitable elective courses. Students interested in graduate work in music are urged to acquire some knowledge of German, French or Italian (for studies in the Western tradition) or of a relevant foreign language (for studies beyond the Western tradition).
Auditions are held for individual lessons, MUS 914Y, MUS 924Y, MUS 930Y and MUS 940Y, and for certain ensembles during the fall orientation period and the first days of each semester. Students are accepted on the basis of musicianship, competence and potential. With the exception of voice, some prior experience and the ability to read music is assumed. Should there be no Smith College faculty teaching a particular instrument, every effort is made to provide students with a qualified instructor.
Individual voice and instrument performance courses consist of weekly private lessons, with specific expectations determined by each instructor. Lessons require a yearlong commitment and are normally taken in addition to a regular course load. Two such courses may only be taken concurrently with departmental approval. (This restriction does not apply to enrollment in MUS 901 or MUS 903, or to participation in large ensembles for credit.)
No more than 24 credits in performance, including participation in various large ensembles, may be counted toward the degree. All large ensembles are graded S/U only. For more detailed information on instrumental and voice lessons and a list of current faculty, visit the Music Department website.
Members of the Glee Club are eligible to audition for the highly selective Smith College Chamber Singers. The internationally known Chamber Singers have performed widely since 1951. Touring every two years, the program provides financial assistance enabling all members to tour regardless of financial need. Auditions for Chamber Singers are held after Glee Club auditions have concluded.
Students who would like to try singing in a group setting for the first time should schedule an interview with the instructor of MUS 951
, a course that introduces students to the skills and concepts of group singing.
Topics of MUS 100 especially designed for those with no previous background in music. They emphasize class discussion and written work, which consists of either music or critical prose as appropriate to the topic. Open to all students, but particularly recommended for first-year students and sophomores. An introduction to music notation and to principles of musical organization, including scales, keys, rhythm and meter. Limited to beginners and those who did not place into MUS 110. Enrollment limited to 20. A
Music may not be a "universal language," but it is a universal phenomenon; every culture has something that we recognize as music. This course introduces you to a number of musical systems traditional, classical and popular--from around the world and uses case studies to explore the complex relationships between music and culture. By engaging with music analytically, as musicologists (paying attention to the sounds you hear) and ethnographically, as anthropologists (paying attention to the cultural context), you learn basic principles that enhance your understanding of music globally speaking. No prerequisites. AS
An introduction to formal analysis and tonal harmony and a study of pieces in the standard repertory. Regular exercises in harmony. Prerequisites: ability to read standard notation in treble and bass clefs, including key signatures and time signatures and the ability to name intervals. (A placement test is given before the fall semester for incoming students.) One 50-minute ear training section required per week, in addition to classroom meetings. Enrollment limited to 20. A
This course explores different approaches to the study of music as a cultural phenomenon. The course considers basic questions, such as: Why is music so often at the center of one's most profound personal and social experiences? Why is music a fundamental means of connecting with one's lives, communities and the wider world? Through in-depth reading and in-class discussion, students study the institutions of music (concerts, recording studios) and the varied practices of music making (classical, popular, amateur, professional) in order to construct a picture of the musical worlds and to understand what they say about society. AS
Music has long played an important role in both memorialization and monumentalization. In this class, we use music as a lens through which to consider the agendas and values behind public displays of memory, history, and political strength. We will study music written to commemorate victims of war, state violence, and illness, from requiems to 9/11 memorial works. We will also consider how composers, performers, and listeners have participated in monumentalizing historical or political occasions, from composer anniversary celebrations to national anthems. AH
Heavy metal and punk rock have arguably been the definitive rock-and-roll styles of the post-1970 rock era. In this course, we explore metal and punk as interrelated musical genres, following their history and development and examining a range of social and musical issues along the way. Of particular importance will be the following: How and when did metal and punk emerge? What defines the two genres musically? What defines them socially? Taken together, how do they represent the changing status of rock music as a cultural and commercial form since 1970? Course limited to 20 students. AHS
During the past three decades, the music industry has undergone substantial, even radical changes. This class will focus on recent developments in the music industry, while reflecting on larger issues that have informed the making and selling of music. Among the primary questions we will consider are: how have new technologies affected the ways in which music is created, bought and sold? What relationship exists between "live" and "recorded" music in the way the music industry operates? How do legal definitions and struggles over intellectual property shape the practices of musicians and music corporations? What does it mean to work in the music industry, and to what extent should the creative labor of musicians be considered similar to or different from other types of labor? Enrollment limited to 20. AS
The course focuses on the musics of Africa and the African diaspora through the lens of ethnomusicology. Concentrating on selected countries, including Benin, Brazil, Cuba, Nigeria, South Africa, and the United States, it examines the musical performance of gender, race, ethnicity, and nationality and the role of music in social and political movements. The course examines the global dimensions and resonances of Africanist musical aesthetics as enabled historically and sustained through ongoing transatlantic exchanges between Africa and the African diaspora. The course also explores the issues of representation and identity in iconic works like Black Is King & Lemonade by Beyonc. Other topics include the adaptation of hip-hop in Africa and the phenomenal popularity of West African Afrobeats in the United States and globally. Workshops conducted by visiting professional musicians and discussions on the instructor's ethnographic research in West Africa, Brazil, Cuba, and the United States. Enrollment limited to 40. AS
Each musical tradition is best explained and understood by its own system of theory. This course introduces four musical traditions and their corresponding theories: Tuvan Throat Singing, Dagomba Dance Drumming, Javanese Gamelan and Hindustani classical music. Topics include theory fundamentals, listening methods, compositional approaches and aesthetics. Learning about these traditions will open doors to new modes of listening and to hearing familiar music in a brand new way. (E)
Music and theatre are both time-based arts that involve bodies in motion in front of an audience. Though they may be considered separate disciplines, the full extent of what they share often makes them wonderfully indistinguishable. This course probes the intersections of music and theatre through a survey of genres, works, artists, and practitioners. While material covered will include clearly relevant genres such as musicals and opera, the focus will be on more difficult to categorize topics such as performance art, immersive theatre, and experimental music, in an open-minded examination of what makes this alliance so compelling. Enrollment limited to 20. A
Basic techniques of composition, including melody, simple two-part writing and instrumentation. Analysis of representative literature. No previous composition experience required. Prerequisite: MUS 110 or equivalent. A
A hands-on introduction to the basic concepts, equipment and software involved in modern music production. This course serves as an introduction to MIDI sequencing, Digital Audio Workstations, analog and digital audio, digital audio recording, mixing and basic studio techniques. Enrollment limited to 8. Instructor permission required. (E) A
In this course, we will learn to use the International Phonetic Alphabet (IPA) as an efficient tool to approach accuracy in lyric diction. Choral and solo singers must frequently perform music in languages that they do not speak, and therefore often struggle to sing with accurate pronunciation. IPA is a set of orthographic characters, almost entirely based on the Roman alphabet, that standardizes phonetics across most major languages. Corequisite: MUS 952, MUS 953 or individual voice performance lessons. Enrollment limited to 20.
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