The Senior Capstone Experience may be fulfilled by writing an extensive research paper or an extended composition; by presenting a research paper in conjunction with a lecture recital; by performing an hour-long solo recital; or by combining a half recital with a research paper.

An introduction to music including the study of notation, the basic elements of music theory, terminology, instrumentation, form, and the basic style periods. Representative works are examined, and the aesthetics of music are considered. Intended for students with little or no background in music.

An introduction to music of the world, including popular, folk, religious and classical traditions. Explores the way ethnomusicologists organize and analyze knowledge about the world, while investigating the ways music acquires meaning in performances that are socially, historically, and culturally situated.

An examination of popular music in America from the 1830s through the modern day. With a particular emphasis being placed on the 1950s and 1960s, students will develop an understanding of the cultural, political, and economic forces of these eras and will examine how popular music history intersects with all aspects of American history and culture. This course also examines several important threads in popular music history, including the ever-present, but ever changing, role of race relations, the impact of evolving technologies, and the history of the music industry. In addition to reading the assigned textbook, students are also asked to watch/listen to important archival performances, televised interviews with notable musicians, radio interviews with scholars of popular culture, and other relevant primary sources.

The basic goal in music theory courses is to focus on the growth and development in the areas of comprehension, skills, and creativity. The academic approach is to study and apply principles of melodic, harmonic, contrapuntal and formal structures, which are basic to musical composition and essential to the serious musician. The lecture portion of this course will focuses on the elements of diatonic harmony through part-writing, formal analysis, and composition. The ear-training portion focuses on the development of intervals, triads, rhythmic study/dictation, melodic dictation, and sight-singing. Recommended for participants in performance groups.

As a continuation of MUS 131, Music Theory II continues the development of music comprehension through theory lectures/exercises and aural skills training. The lecture portion of this course focuses on part writing, the study of diatonic harmony, and formal analysis. The ear-training portion of this course focuses on the continuation and development of intervals, triads, seventh chords, melodic dictation, harmonic dictation, rhythmic dictation, as well as sight-singing and rhythmic studies. Recommended for participants in performance groups. Prerequisite: MUS 131 (Students who have a strong background in theory may take an examination to receive advanced standing and exemption from this prerequisite).

Class Piano I introduces the art of piano playing through establishing fundamentals in proper piano technique and facility. Simplified classical and popular literature is taught in conjunction with fundamental music theory, technique, rhythmic exercises, and sight-reading. This class is designed for students who have never played the piano and have no prior formal piano study.

Class Guitar I offers group instruction in the fundamental principles of playing the guitar. Students are introduced to a variety of styles and techniques for the guitar and learn to read standard notation and tablature. Course goals are to develop and improve technical skills and musicality, while gaining a deeper understanding of music theory, fretboard harmony, and performance practice of various stylistic periods and musical genres. No prior experience is required.

A period course in music history or an offering in some other specific area of interest, such as conducting, composition, or independent research.

An examination of music in Western culture from its roots in ancient Greece to 1750. This course covers the Ancient, Medieval, Renaissance, and Baroque periods of music history. Areas of focus include the transformation of musical language and form, notions of musical creativity, music and politics, and the sociology of listening. These themes will are explored through close readings and analyses of significant musical, literary and philosophical works. This course requires that students have an advanced knowledge in reading and writing music notation.

An examination of music in Western culture from the end of the Classical to the Romantic periods. Areas of focus include the transformation of musical language and form, notions of musical creativity, music and politics, and the sociology of listening. These themes are explored through close readings and analyses of significant musical, literary and philosophical works. This course requires that students have anadvanced knowledge in reading and writing music notation.

An examination of music in Western culture since 1900. This course covers Impressionism, Modalism, Expressionism, Free Atonality, Modernism, Neoclassicism, Nationalism, Minimalism, and Postmodernism. Areas of focus include the transformation of musical language and form, notions of musical creativity, music and politics, and the sociology of listening. These themes are explored through close readings and analyses of significant musical, literary and philosophical works. This course requires that students have an advanced knowledge in reading and writing music notation.

Jazz is both a uniquely American style as well as an international collaboration. Beginning with an examination of the roots and antecedents of jazz in the mid-1800s, students learn the artistic contributions of many notable instrumentalists, vocalists, bandleaders and arrangers. Particular emphasis is placed upon understanding the musical and social forces that influenced each artist, and the role of each artist in encouraging innovation and development within this art form. Prior musical experience is not required.

Upon completion of Music Theory I and II, students have gained a basic knowledge of diatonic harmony. Music Theory III delves into more advanced topics addressing diatonic and chromatic harmonies, as well as large-scale form. The lecture portion of this course focuses on more advanced work in diatonic harmony, including applied chords, modulation, form, modal mixture, and other chromatic harmony. This is accomplished through part-writing, formal analysis, and composition. The ear-training portion will focus on the continued development of intervals, triads, rhythmic study/dictation, melodic dictation, harmonic dictation, and sight-singing.

A study of basic conducting skills, score reading, rehearsal techniques, and the elements of arranging.

This course gives an overview of major topics in creativity: the pleasures and pitfalls as well as effective strategies to use in creative work. Each week we tackle another issue and explore ways to approach creativity in the broadest sense. At the same time students work on self-directed projects throughout the semester (largely outside of class time), submit weekly progress updates, and periodically share with the class. By the end of the semester students have a range of tools and hands-on experiences to return to again and again in their future creative work.Prerequisite: One course of Studio Art, Music, Theatre, Dance, or Creative Writing, or permission of the instructor.

Class Piano II teaches the art of piano playing through establishing fundamentals in proper piano technique and facility. This course is a continuation of Class Piano I and is designed for students who already possess basic piano skills. Intermediate level classical and popular literature is taught in conjunction with fundamental music theory, technique, rhythmic exercises, and sight-reading.

Class Guitar II offers Intermediate/advanced group guitar instruction. In a group setting, students learn music from various stylistic periods and genres and continue to develop technical and musical skills on the guitar.

Instruction in applied music solves technical problems, develops knowledge of the literature, and teaches performance techniques. One hour of daily practice per half-hour lesson is expected. All 200-level courses in applied music are one credit. There is an additional fee of $360 for each applied music course. Music majors are exempted from paying this fee. This course consists of a weekly 30-minute individual lesson and is open to all students.

Instruction in applied music solves technical problems, develops knowledge of the literature, and teaches performance techniques. One hour of daily practice per half-hour lesson is expected. All 200-level courses in applied music are one credit. There is an additional fee of $360 for each applied music course. Music majors are exempted from paying this fee. This course consists of a weekly 30-minute individual lesson and is open to all students.

Instruction in applied music solves technical problems, develops knowledge of the literature, and teaches performance techniques. One hour of daily practice per half-hour lesson is expected. All 200-level courses in applied music are one credit. There is an additional fee of $360 for each applied music course. Music majors are exempted from paying this fee. This course consists of a weekly 30-minute individual lesson and is open to all students.

Instruction in applied music solves technical problems, develops knowledge of the literature, and teaches performance techniques. One hour of daily practice per half-hour lesson is expected. All 200-level courses in applied music are one credit. There is an additional fee of $360 for each applied music course. Music majors are exempted from paying this fee. This course consists of a weekly 30-minute individual lesson and is open to all students.

Instruction in applied music solves technical problems, develops knowledge of the literature, and teaches performance techniques. One hour of daily practice per half-hour lesson is expected. All 200-level courses in applied music are one credit. There is an additional fee of $360 for each applied music course. Music majors are exempted from paying this fee. This course consists of a weekly 30-minute individual lesson and is open to all students.

Instruction in applied music solves technical problems, develops knowledge of the literature, and teaches performance techniques. One hour of daily practice per half-hour lesson is expected. All 200-level courses in applied music are one credit. There is an additional fee of $360 for each applied music course. Music majors are exempted from paying this fee. This course consists of a weekly 30-minute individual lesson and is open to all students.

Instruction in applied music solves technical problems, develops knowledge of the literature, and teaches performance techniques. One hour of daily practice per half-hour lesson is expected. All 200-level courses in applied music are one credit. There is an additional fee of $360 for each applied music course. Music majors are exempted from paying this fee. This course consists of a weekly 30-minute individual lesson and is open to all students.

Instruction in applied music solves technical problems, develops knowledge of the literature, and teaches performance techniques. One hour of daily practice per half-hour lesson is expected. All 200-level courses in applied music are one credit. There is an additional fee of $360 for each applied music course. Music majors are exempted from paying this fee. This course consists of a weekly 30-minute individual lesson and is open to all students.

This ensemble focuses on learning to perform the panpipe music of South American Andean communities, a diverse culture comprising the South American countries of Bolivia, Columbia, Ecuador, and Peru. Open to all. No prior musical experience required.

The Symphonic Band studies and performs concert band and wind ensemble music from various musical periods. Membership is open to qualified students.

The Washington College Steel Band (Steel Revolution) offers students an opportunity to explore the Trinidadian steel band tradition, as well as classical and popular arrangements and transcriptions. Students learn to perform on steel band instruments and study the social, historical, and cultural context of the ensemble. Readings, recordings, and video viewings supplement in-class instruction. The ensemble will present public performances.

By the Edo period (1603-1868), three instruments had emerged from various directions to become popular among the Japanese people. The koto, a 13-string zither, the shamisen, a 3-string banjo-like instrument, and the shakuhachi, a Zen Buddhist bamboo flute. In this new ensemble, students are introduced to these instruments, and have the opportunity to research, write about, and learn how to perform on an instrument of the student's choice. Students also learn the unique notation systems of each instrument and gain a deep understanding of Japanese traditional arts in relation to the social, ideological, and cultural development of Japanese traditional aesthetics.

The Jazz Ensemble presents programs each semester and plays at various College functions throughout the year. Membership is open to qualified students.

The College Chorus performs music from all principal style periods. Membership is open to all students.

The Early Music Consort is an instrumental ensemble that performs music from the Middle Ages, Renaissance, and Baroque eras on period instruments. Membership is open to qualified students.

The ensemble focuses primarily on Cuban drum and song traditions associated with rumba and Santeria. Musical literacy is not a requirement; instead, rhythms and melodies will be transmitted via the oral traditions that are prevalent in Cuba. Membership is open to all students.

A learning contract is developed prior to enrollment in an internship. Evaluation of student performance is completed by the faculty mentor based on fulfillment of the contract terms and written evaluation by the internship site supervisor. 45 hours are required for each credit. Students must be enrolled in the course, prior to beginning work. Graded A-F or Pass/Fail.

The String Orchestra studies and performs orchestral music from various musical periods. Membership is open to qualified students.

A period course in music history or an offering in some other specific area of interest, such as conducting, composition, or independent research.

An agreement between a sponsoring faculty member and a student researching a topic of interest that is relevant to a student's major or minor. Research is conducted off-campus. Students must be enrolled before the research can begin. Graded A-F or Pass/Fail. 45 hours are required per credit.

An agreement between a sponsoring faculty member and a student researching a topic of interest that is relevant to a student's major or minor. Research is conducted off-campus. Students must be enrolled before the research can begin. Graded A-F or Pass/Fail. 45 hours are required per credit.

Students are introduced to ethnomusicological theory and method, while focusing on the musical practices of selected regions in South and Central America and the Caribbean. Folk, ritual, popular, and art/classical traditions are examined in the contexts of cultural issues such as belief systems, politics, aesthetics, and identity.

Using selected musical areas from Asia, this course introduces and reinforces the basic concepts of ethnomusicology and trains students to develop listening and musicological analytical skills. We examine folk, ritual, popular, and art/classical traditions in the contexts of cultural issues, such as belief systems, politics, aesthetics, and identity.

Using music, ritual, and liturgical analyses, this course investigates the historical, social, political, and intellectual circumstances that led to the eventual success of Christianity as a major religion of the world. Examples are drawn from Eastern Orthodoxy and Catholicism.

This course introduces students to anthropological, ethnomusicological, and ethnochoreological ethnographic fieldwork methods, including participant observation, ethnographic interviews, and audio/video documentation techniques. Students are exposed to both Afro-Cuban religious and Cuban popular expressive forms. Students learn about the interrelatedness of music, dance, visual arts, ritual, and religious beliefs, as well as Cuban views on Cuban culture, gender, and race. Students attend/observe both formal and informal music performances and take music and dance lessons where they will have an opportunity to engage musicians on a one-on-one basis. In addition to music-oriented activities, students learn about Cuba's cultural and economic history by exploring Havana's rich museums, monuments, and plazas. By permission of the instructor.

A study of the principles of musical organization through analysis of compositions from diverse periods in music history.

A study of a variety of technologies associated with music recording, post-production, performance and composition. Students will become familiar with advanced software, a variety of recording equipment, and MIDI peripherals. Potential students must first demonstrate competency as an instrumental or vocal performer.

Advanced study of conducting skills, score reading, and rehearsal techniques.

This course explores various aspects of leadership, management, and entrepreneurship for the visual and performing arts. Students learn how arts organizations define themselves, make decisions, and plan for the future. Topics may include: leadership & governance, mission & strategy, program planning & evaluation, intellectual property & contracting, marketing & public relations, and/or budgeting & fundraising. This course has no curricular prerequisite, but requires a baseline interest in and understanding of the arts.

A learning contract is developed prior to enrollment in an internship. Evaluation of student performance is completed by the faculty mentor based on fulfillment of the contract terms and written evaluation by the internship site supervisor. 45 hours are required for each credit. Students must be enrolled in the course, prior to beginning work. Graded A-F or Pass/Fail.

A period course in music history or an offering in some other specific area of interest, such as conducting, composition, or independent research.

An agreement between a sponsoring faculty member and a student researching a topic of interest that is relevant to a student's major or minor. Research is conducted off-campus. Students must be enrolled before the research can begin. Graded A-F or Pass/Fail. 45 hours are required per credit.

An agreement between a sponsoring faculty member and a student researching a topic of interest that is relevant to a student's major or minor. Research is conducted off-campus. Students must be enrolled before the research can begin. Graded A-F or Pass/Fail. 45 hours are required per credit.

This course provides experiential learning for majors and minor through participation in music department events. By enrolling in this course, students commit to completing all required activities during the indicated semester. Course requirements are clearly outlined by the instructor(s) at the beginning of the semester. These requirements typically include: attendance at concerts, attendance at department-sponsored lectures/masterclasses, and attending general information meetings. This is a zero-credit course and is graded pass/fail. Majors must enroll in and pass the course four times; minors must enroll and pass twice.

This course examines the formation of the discipline of ethnomusicology through a survey of its history, theory, and methodology. Students read and discuss the works of major scholars in the field and examine the interdisciplinary nature of ethnomusicology, particularly its relationship with historical musicology, anthropology, folklore, linguistics, and cultural studies. Research projects complement theoretical discussions and technical activities associated with the field such as fieldwork, ethnography, historical research, and transcription.

A study of the fundamentals of instrumentation, orchestration, and arranging.

Instruction in applied music solves technical problems, develops knowledge of the literature, and teaches performance techniques. Two hours of daily practice per hour lesson is expected. All 400-level courses in applied music are two credits. There is an additional fee of $720 for each 400-level applied music course. Music majors are exempted from paying this fee. This course consists of a weekly 60-minute individual lesson and is open to all students.

Instruction in applied music solves technical problems, develops knowledge of the literature, and teaches performance techniques. Two hours of daily practice per hour lesson is expected. All 400-level courses in applied music are two credits. There is an additional fee of $720 for each 400-level applied music course. Music majors are exempted from paying this fee. This course consists of a weekly 60-minute individual lesson and is open to all students.

Instruction in applied music solves technical problems, develops knowledge of the literature, and teaches performance techniques. Two hours of daily practice per hour lesson is expected. All 400-level courses in applied music are two credits. There is an additional fee of $720 for each 400-level applied music course. Music majors are exempted from paying this fee. This course consists of a weekly 60-minute individual lesson and is open to all students.

Instruction in applied music solves technical problems, develops knowledge of the literature, and teaches performance techniques. Two hours of daily practice per hour lesson is expected. All 400-level courses in applied music are two credits. There is an additional fee of $720 for each 400-level applied music course. Music majors are exempted from paying this fee. This course consists of a weekly 60-minute individual lesson and is open to all students.

Instruction in applied music solves technical problems, develops knowledge of the literature, and teaches performance techniques. Two hours of daily practice per hour lesson is expected. All 400-level courses in applied music are two credits. There is an additional fee of $720 for each 400-level applied music course. Music majors are exempted from paying this fee. This course consists of a weekly 60-minute individual lesson and is open to all students.

Instruction in applied music solves technical problems, develops knowledge of the literature, and teaches performance techniques. Two hours of daily practice per hour lesson is expected. All 400-level courses in applied music are two credits. There is an additional fee of $720 for each 400-level applied music course. Music majors are exempted from paying this fee. This course consists of a weekly 60-minute individual lesson and is open to all students.

Instruction in applied music solves technical problems, develops knowledge of the literature, and teaches performance techniques. Two hours of daily practice per hour lesson is expected. All 400-level courses in applied music are two credits. There is an additional fee of $720 for each 400-level applied music course. Music majors are exempted from paying this fee. This course consists of a weekly 60-minute individual lesson and is open to all students.

Instruction in applied music solves technical problems, develops knowledge of the literature, and teaches performance techniques. Two hours of daily practice per hour lesson is expected. All 400-level courses in applied music are two credits. There is an additional fee of $720 for each 400-level applied music course. Music majors are exempted from paying this fee. This course consists of a weekly 60-minute individual lesson and is open to all students.

The Washington College Jazz Combo allows advanced jazz students to perform various styles of jazz literature, including standards, original compositions and arrangements. Ample opportunity is given for improvisation. The Combo presents programs each semester and performs at various College functions throughout the year. The ensemble is open to students through auditions, which take place at the beginning of each semester.

Chamber Singers perform music from all principal periods and performs both on and off campus. The ensemble is open to students through auditions, which take place at the beginning of each semester.

Various woodwind, brass, and string ensembles (duets, trios, quartets, quintets) perform in recitals throughout the year. The ensembles are open to students through auditions, which take place at the beginning of each semester.

A learning contract is developed prior to enrollment in an internship. Evaluation of student performance is completed by the faculty mentor based on fulfillment of the contract terms and written evaluation by the internship site supervisor. 45 hours are required for each credit. Students must be enrolled in the course, prior to beginning work. Graded A-F or Pass/Fail.

A period course in music history or an offering in some other specific area of interest, such as conducting, composition, or independent research.

An agreement between a sponsoring faculty member and a student researching a topic of interest that is relevant to a student's major or minor. Research is conducted off-campus. Students must be enrolled before the research can begin. Graded A-F or Pass/Fail. 45 hours are required per credit.

An agreement between a sponsoring faculty member and a student researching a topic of interest that is relevant to a student's major or minor. Research is conducted off-campus. Students must be enrolled before the research can begin. Graded A-F or Pass/Fail. 45 hours are required per credit.

An agreement between a sponsoring faculty and a student letting the student study a topic of interest not offered at WC. 45 hours are required per credit.