Title	Instructors	Location	Time	Description	Cross listings	Fulfills	Registration notes	Syllabus	Syllabus URL
MUSC 0050-040	College Music Program	Michael Ketner			Private study in voice, keyboard, strings, woodwind, brass, percussion, and non-western instruments. Such study is designed to meet the artistic, technical, and/or professional needs of the student. Note: This is not a syllabus. Course requirements and assessment will be determined by the private instructor. Private lessons in the College House Music cannot be taken Pass/Fail. Please visit http://www.sas.upenn.edu/music/performance. Students cannot register through Penn In Touch. Registration will be maintained by the music department upon receipt of application and instructor permission. An additional lesson fee will be charged to student account for participation in this program.
MUSC 0070-001	Ensemble Performance: Univ. Wind Ensemble	Paul Bryan Michael Ketner			Successful participation in a music department sponsored group. Ensemble groups: University Orchestra, University Wind Ensemble, Choral Society, University Choir, Collegium Musicum, Baroque and Recorder Ensemble, Chamber Music Society, Arab Music Ensemble, Samba Ensemble, Penn Flutes, Opera and Musical Theater, and Jazz Combo. This course must be taken for a letter grade (Pass/Fail registration option may not be utilized for this course).			Perm Needed From Department
MUSC 0070-002	Ensemble Performance: Univ. Orchestra	Thomas Tok-Young Hong Michael Ketner			Successful participation in a music department sponsored group. Ensemble groups: University Orchestra, University Wind Ensemble, Choral Society, University Choir, Collegium Musicum, Baroque and Recorder Ensemble, Chamber Music Society, Arab Music Ensemble, Samba Ensemble, Penn Flutes, Opera and Musical Theater, and Jazz Combo. This course must be taken for a letter grade (Pass/Fail registration option may not be utilized for this course).			Perm Needed From Department
MUSC 0070-003	Ensemble Performance: Jazz Combo	Michael Ketner Daniel M Paul			Successful participation in a music department sponsored group. Ensemble groups: University Orchestra, University Wind Ensemble, Choral Society, University Choir, Collegium Musicum, Baroque and Recorder Ensemble, Chamber Music Society, Arab Music Ensemble, Samba Ensemble, Penn Flutes, Opera and Musical Theater, and Jazz Combo. This course must be taken for a letter grade (Pass/Fail registration option may not be utilized for this course).			Perm Needed From Department
MUSC 0070-004	Ensemble Performance: Penn Baroque&Recorder	Michael Ketner Gwyn Meredith Roberts			Successful participation in a music department sponsored group. Ensemble groups: University Orchestra, University Wind Ensemble, Choral Society, University Choir, Collegium Musicum, Baroque and Recorder Ensemble, Chamber Music Society, Arab Music Ensemble, Samba Ensemble, Penn Flutes, Opera and Musical Theater, and Jazz Combo. This course must be taken for a letter grade (Pass/Fail registration option may not be utilized for this course).			Perm Needed From Department
MUSC 0070-005	Ensemble Performance: Collegium Musicum	Margaret B Gruits Michael Ketner			Successful participation in a music department sponsored group. Ensemble groups: University Orchestra, University Wind Ensemble, Choral Society, University Choir, Collegium Musicum, Baroque and Recorder Ensemble, Chamber Music Society, Arab Music Ensemble, Samba Ensemble, Penn Flutes, Opera and Musical Theater, and Jazz Combo. This course must be taken for a letter grade (Pass/Fail registration option may not be utilized for this course).			Perm Needed From Department
MUSC 0070-006	Ensemble Performance: Penn Chamber Music Soc	Michael Ketner Thomas E Kraines			Successful participation in a music department sponsored group. Ensemble groups: University Orchestra, University Wind Ensemble, Choral Society, University Choir, Collegium Musicum, Baroque and Recorder Ensemble, Chamber Music Society, Arab Music Ensemble, Samba Ensemble, Penn Flutes, Opera and Musical Theater, and Jazz Combo. This course must be taken for a letter grade (Pass/Fail registration option may not be utilized for this course).			Perm Needed From Department
MUSC 0070-007	Ensemble Performance: Penn Chorale	Elizabeth Braden Michael Ketner			Successful participation in a music department sponsored group. Ensemble groups: University Orchestra, University Wind Ensemble, Choral Society, University Choir, Collegium Musicum, Baroque and Recorder Ensemble, Chamber Music Society, Arab Music Ensemble, Samba Ensemble, Penn Flutes, Opera and Musical Theater, and Jazz Combo. This course must be taken for a letter grade (Pass/Fail registration option may not be utilized for this course).			Perm Needed From Department
MUSC 0070-008	Opera/Music Thea Wksp	Margaret B Gruits Michael Ketner			Successful participation in a music department sponsored group. Ensemble groups: University Orchestra, University Wind Ensemble, Choral Society, University Choir, Collegium Musicum, Baroque and Recorder Ensemble, Chamber Music Society, Arab Music Ensemble, Samba Ensemble, Penn Flutes, Opera and Musical Theater, and Jazz Combo. This course must be taken for a letter grade (Pass/Fail registration option may not be utilized for this course).			Perm Needed From Department
MUSC 0070-009	Arabic Choir	Michael Ketner Hanna A Khuri	LERN 101	R 5:15 PM-6:44 PM	Successful participation in a music department sponsored group. Ensemble groups: University Orchestra, University Wind Ensemble, Choral Society, University Choir, Collegium Musicum, Baroque and Recorder Ensemble, Chamber Music Society, Arab Music Ensemble, Samba Ensemble, Penn Flutes, Opera and Musical Theater, and Jazz Combo. This course must be taken for a letter grade (Pass/Fail registration option may not be utilized for this course).
MUSC 0070-010	Samba Ensemble	Michael Ketner Michael Lacheen Stevens			Successful participation in a music department sponsored group. Ensemble groups: University Orchestra, University Wind Ensemble, Choral Society, University Choir, Collegium Musicum, Baroque and Recorder Ensemble, Chamber Music Society, Arab Music Ensemble, Samba Ensemble, Penn Flutes, Opera and Musical Theater, and Jazz Combo. This course must be taken for a letter grade (Pass/Fail registration option may not be utilized for this course).			Perm Needed From Department
MUSC 0070-013	Penn Flutes	Michele C Kelly Michael Ketner			Successful participation in a music department sponsored group. Ensemble groups: University Orchestra, University Wind Ensemble, Choral Society, University Choir, Collegium Musicum, Baroque and Recorder Ensemble, Chamber Music Society, Arab Music Ensemble, Samba Ensemble, Penn Flutes, Opera and Musical Theater, and Jazz Combo. This course must be taken for a letter grade (Pass/Fail registration option may not be utilized for this course).			Perm Needed From Department
MUSC 0070-014	Arabic Percussion Adv: Arabic Percussion Advanced	Michael Ketner Hafez J Kotain	LERN 102	R 5:15 PM-6:44 PM	Successful participation in a music department sponsored group. Ensemble groups: University Orchestra, University Wind Ensemble, Choral Society, University Choir, Collegium Musicum, Baroque and Recorder Ensemble, Chamber Music Society, Arab Music Ensemble, Samba Ensemble, Penn Flutes, Opera and Musical Theater, and Jazz Combo. This course must be taken for a letter grade (Pass/Fail registration option may not be utilized for this course).
MUSC 0070-015	Arabic Percussion Beg: Arabic Percussion Beginner	Michael Ketner Hafez J Kotain	LERN 102	R 7:00 PM-8:29 PM	Successful participation in a music department sponsored group. Ensemble groups: University Orchestra, University Wind Ensemble, Choral Society, University Choir, Collegium Musicum, Baroque and Recorder Ensemble, Chamber Music Society, Arab Music Ensemble, Samba Ensemble, Penn Flutes, Opera and Musical Theater, and Jazz Combo. This course must be taken for a letter grade (Pass/Fail registration option may not be utilized for this course).
MUSC 0070-016	Arabic Choir	Michael Ketner Hanna A Khuri	LERN 101	R 7:00 PM-8:29 PM	Successful participation in a music department sponsored group. Ensemble groups: University Orchestra, University Wind Ensemble, Choral Society, University Choir, Collegium Musicum, Baroque and Recorder Ensemble, Chamber Music Society, Arab Music Ensemble, Samba Ensemble, Penn Flutes, Opera and Musical Theater, and Jazz Combo. This course must be taken for a letter grade (Pass/Fail registration option may not be utilized for this course).
MUSC 0070-017	Arab Music Ensemble Instrumental section	Michael Ketner Hanna A Khuri			Successful participation in a music department sponsored group. Ensemble groups: University Orchestra, University Wind Ensemble, Choral Society, University Choir, Collegium Musicum, Baroque and Recorder Ensemble, Chamber Music Society, Arab Music Ensemble, Samba Ensemble, Penn Flutes, Opera and Musical Theater, and Jazz Combo. This course must be taken for a letter grade (Pass/Fail registration option may not be utilized for this course).			Perm Needed From Department
MUSC 0100A-001	Marian Anderson Performance Program	Michael Ketner	LERN 101	F 3:30 PM-5:29 PM	Special instruction in vocal and instrumental performance for music majors and minors only. Students must demonstrate in an audition that they have already attained an intermediate level of musical performance. They also must participate in a Music Department ensemble throughout the academic year, perform in public as a soloist at least once during the year (recital), perform a jury at the end of the spring semester, and attend and participate in masterclasses.			Perm Needed From Department
MUSC 0110A-001	Marian Anderson Group Performance Program	Michael Ketner	LERN 102	F 3:30 PM-4:59 PM	Special instruction in vocal/instrumental small group (ensemble) performance, for music majors and minors only. Students must demonstrate in an audition that they have already attained an intermediate or advanced level of musical performance. They also must participate in a Music Department ensemble throughout the academic year, perform in public as a soloist at least once during the year (recital), perform a jury at the end of the spring semester, and attend and participate in masterclasses. Prerequisite: Students must be a music major or minor.			Perm Needed From Department
MUSC 0160-301	Mozart to Mitski and Bach to Beyonce	Anna T Weesner	LERN 210	TR 1:45 PM-3:14 PM	Mozart to Mitski and Bach to Beyonce Hopefully without leaving out Dowland or Dylan, this seminar will focus on songs from wide ranging eras. Intended not as a survey course, but rather as one in which we bring acute focus to selected music, our goals will include the development of skills in hearing and in articulating what you hear, learning new repertoire, bringing fresh ears to music you may already know, asking effective questions about music itself as well as about how music figures in our lives. Regular assignments will include listening, reading, and both analytical and reflective writing. There will be a final paper and an in-class presentation. Written work will be done in prose, with occasional options to compose in response to the music we are studying. (Composing is an option and not a requirement for the class.)		Arts & Letters Sector			https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do?webService=syll&t=202230&c=MUSC0160301
MUSC 0180A-401	Music in Urban Spaces	Molly Jean Mcglone	COHN 237	F 3:30 PM-5:29 PM	Music in Urban Spaces is a year-long experience that explores the ways in which individuals use music in their everyday lives and how music is used to construct larger social and economic networks that we call culture. We will read the work of musicologists, cultural theorists, urban geographers, sociologists and educators who work to define urban space and the role of music and sound in urban environments, including through music education. While the readings make up our study of the sociology of urban space and the way we use music in everyday life to inform our conversations and the questions we ask, it is within the context of our personal experiences working with music programs in public neighborhood schools serving economically disadvantaged students, that we will begin to formulate our theories of the contested musical micro-cultures of West Philadelphia. This course is over two-semesters where students register for .5 cus each term (for a total of 1 cu over the entire academic year) and is tied to the Music and Social Change Residential Program in Fisher Hassenfeld College House which will sponsor field trips around the city and a final concert for youth to perform here at Penn, if possible. Students are expected to volunteer in music and drama programs in Philadelphia neighborhood public schools throughout the course experience.	URBS0180A401, URBS0180A401	Humanties & Social Science Sector Cultural Diviserity in the U.S.	Perm Needed From Instructor
MUSC 0181-301	On Belonging: Music, Displacement, and Well-Being	Carol Ann Muller	LERN CONF	F 10:15 AM-1:14 PM	The 2020s has begun as a time of global existential angst: we are all living with so much uncertainty and change. Think of the impact of the COVID pandemic and the questioning of science in the form of vaccine resistance; climate change challenges; a technological and educational revolution; growing income inequality; the urgency of BLM protests in the USA, moves against dictatorships, the need to decolonize universities, and the pressure to address human rights and refugee challenges. But it is also a moment of real excitement, with increased technological access and presence in our lives. In fact, the capacity to connect to others almost anywhere in the world, immediately, is truly revolutionary. As is the capacity to plug into the sound of the world’s music in an instant. Through personal music listening, for example, we can use music to soothe, to excite, to travel imaginatively, to focus, for meditation, as a soundtrack to our everyday lives, and as emotional regulation. But the work of music for personal wellbeing and collective healing is much larger than just an individualized listening experience. This seminar opens up the issue of emotional regulation and collective healing by examining the relationship between sound and musical practice, performance, and engagement, both locally and around the world. You might think about this seminar as a kind of reflexive moment as you arrive on campus: as undergraduates and members of communities you will think about the relationship between your own recent move/displacement and the work of music/sound as a strategy of individual and collective belonging. There will be an ABCS component to the class.		Arts & Letters Sector			https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do?webService=syll&t=202230&c=MUSC0181301
MUSC 1270-001	Introduction to Electronic Musicmaking	Cleek Shrey	LERN 210	MW 1:45 PM-3:14 PM	An exploration of composition, style, and technique in a variety of popular and experimental electronic music genres. We'll study and practice making works in genres including acousmatic music, beat-driven music such as hip-hop and techno, pop songwriting, and sound art. As we proceed, we'll investigate techniques including field recording, sampling, sound synthesis, and generative music. Within each genre, we'll begin from the analysis and technique of exemplary music, then work towards presentation and group discussion of student composition projects.					https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do?webService=syll&t=202230&c=MUSC1270001
MUSC 1270-002	Introduction to Electronic Musicmaking	Natacha Diels	BENN 407	MW 12:00 PM-1:29 PM	An exploration of composition, style, and technique in a variety of popular and experimental electronic music genres. We'll study and practice making works in genres including acousmatic music, beat-driven music such as hip-hop and techno, pop songwriting, and sound art. As we proceed, we'll investigate techniques including field recording, sampling, sound synthesis, and generative music. Within each genre, we'll begin from the analysis and technique of exemplary music, then work towards presentation and group discussion of student composition projects.
MUSC 1300-001	1000 Years of Musical Listening	Mauro P Calcagno	LERN 101	MW 10:15 AM-11:44 AM	We know that we like music and that it moves us, yet it is often difficult to pinpoint exactly why, and harder still to explain what it is we are hearing. This course takes on those issues. It aims to introduce you to a variety of music, and a range of ways of thinking, talking and writing about music. The majority of music dealt with will be drawn from the so-called "Classical" repertory, from the medieval period to the present day, including some of the 'greats' such as Handel, Beethoven, Mozart, Berlioz, and Verdi, but will also introduce you to music you will most likely never have encountered before. This course will explore the technical workings of music and the vocabularies for analyzing music and articulating a response to it; it also examines music as a cultural phenomenon, considering what music has meant for different people, from different societies across the ages and across geographical boundaries. As well as learning to listen ourselves, we will also engage with a history of listening. No prior musical knowledge is required. (Formerly Music 021). Fulfills College Cross Cultural Foundational Requirement.		Cross Cultural Analysis Arts & Letters Sector
MUSC 1300-002	1000 Years of Musical Listening	Lloyd J Frank	LERN 101	MW 12:00 PM-1:29 PM	We know that we like music and that it moves us, yet it is often difficult to pinpoint exactly why, and harder still to explain what it is we are hearing. This course takes on those issues. It aims to introduce you to a variety of music, and a range of ways of thinking, talking and writing about music. The majority of music dealt with will be drawn from the so-called "Classical" repertory, from the medieval period to the present day, including some of the 'greats' such as Handel, Beethoven, Mozart, Berlioz, and Verdi, but will also introduce you to music you will most likely never have encountered before. This course will explore the technical workings of music and the vocabularies for analyzing music and articulating a response to it; it also examines music as a cultural phenomenon, considering what music has meant for different people, from different societies across the ages and across geographical boundaries. As well as learning to listen ourselves, we will also engage with a history of listening. No prior musical knowledge is required. (Formerly Music 021). Fulfills College Cross Cultural Foundational Requirement.		Cross Cultural Analysis Arts & Letters Sector			https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do?webService=syll&t=202230&c=MUSC1300002
MUSC 1300-003	1000 Years of Musical Listening	Renee M Olo	LERN 101	TR 8:30 AM-9:59 AM	We know that we like music and that it moves us, yet it is often difficult to pinpoint exactly why, and harder still to explain what it is we are hearing. This course takes on those issues. It aims to introduce you to a variety of music, and a range of ways of thinking, talking and writing about music. The majority of music dealt with will be drawn from the so-called "Classical" repertory, from the medieval period to the present day, including some of the 'greats' such as Handel, Beethoven, Mozart, Berlioz, and Verdi, but will also introduce you to music you will most likely never have encountered before. This course will explore the technical workings of music and the vocabularies for analyzing music and articulating a response to it; it also examines music as a cultural phenomenon, considering what music has meant for different people, from different societies across the ages and across geographical boundaries. As well as learning to listen ourselves, we will also engage with a history of listening. No prior musical knowledge is required. (Formerly Music 021). Fulfills College Cross Cultural Foundational Requirement.		Arts & Letters Sector Cross Cultural Analysis
MUSC 1320-401	Composers: Opera Composers 1600-1900	Mauro P Calcagno			This course will center on the biography, works, and cultural context of a specific composer or group of composers. As well as introducing students to the musical works of the composer(s), the course will examine issues such as reception history, the canon, mechanisms of cult formation, authorship and attribution, identity, historical and social contexts, and nationalism and patriotism. Fulfills Arts and Letters Requirement. The course centers on a group of composers who created or developed opera as a successful genre by setting texts in Italian: Monteverdi, Handel, Mozart, Verdi, and Puccini. We will explore how these musicians were involved in opera as a business model, how their careers took shape, how their music interacted on stage with words, bodies, and sets (enhancing narratives based on literature, mythology and history), how their works were products of larger social contexts, and finally, how and why these operas are presented today by American theatres (also adapted as Broadway musicals) or in film versions. The course is intended for non-majors, but music majors are welcome. Knowledge of Italian is not necessary.	ITAL1320401, ITAL1320401, ITAL1320401	Arts & Letters Sector
MUSC 1400-401	Jazz Style and History	Amanda Scherbenske	LERN 210	M 5:15 PM-8:14 PM	This course is an exploration of the family of musical idioms called jazz. Attention will be given to issues of style development, selective musicians, and to the social and cultural conditions and the scholarly discourses that have informed the creation, dissemination and reception of this dynamic set of styles from the beginning of the 20th century to the present. Fulfills Cultural Diversity in the U.S.	AFRC1400401, AFRC1400401, AFRC1400401	Cultural Diviserity in the U.S.
MUSC 1400-402	Jazz Style and History			CANCELED	This course is an exploration of the family of musical idioms called jazz. Attention will be given to issues of style development, selective musicians, and to the social and cultural conditions and the scholarly discourses that have informed the creation, dissemination and reception of this dynamic set of styles from the beginning of the 20th century to the present. Fulfills Cultural Diversity in the U.S.	AFRC1400402, AFRC1400402, AFRC1400402	Cultural Diviserity in the U.S.	Perm Needed From Department
MUSC 1420-001	Thinking About Popular Music	Glenda Goodman	LERN 102	TR 10:15 AM-11:44 AM	Catchy yet controversial. Fun but hard-hitting. Popular music is not just entertaining: it presents societal issues, raises questions, expresses ideas. This course considers how popular music of the 20th century manifested the hopes, contradictions, ingenuity, and challenges of life in the United States, as seen and heard through the experiences of musicians and audiences. We will address three core questions: (1) How is “talent” and “good” music distinguished? (2) What happens when we treat music as “property,” especially with respect to broader ideas of ownership and credit? (3) When, how, and why is music considered dangerous? We delve into these questions by profiling musicians’ lives, analyzing the musical traits of specific repertoire, investigating changes in how music circulates, and situating popular music in U.S. cultural history. This course is not a chronological survey and does not aim to cover all U.S. popular music (or global popular music). Instead, each core question is addressed through case studies. Over the course of the semester students learn listening and analytic skills, how to engage critically with a range of writings about music, how to develop compelling arguments and articulate them verbally in class discussions and in writing assignments.		Arts & Letters Sector Cultural Diviserity in the U.S.			https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do?webService=syll&t=202230&c=MUSC1420001
MUSC 1440-401	Film Music in Post 1950 Italy	Jamuna S Samuel	BENN 406	TR 10:15 AM-11:44 AM	An exploration of cinematic sound through the lens of specific composer/director collaborations in post-1950 Italy, examining scores, soundtracks, and the interaction of diegetic and non-diegetic music with larger soundscapes. Composers Nino Rota and Ennio Morricone serve as case studies, in partnership with directors Fellini, Visconti, Leone, Pontecorve, Pasolini, and Coppola. Highlights include several excerpts form the Fellini/Rota collaboration, including The White Sheik, I vitelloni, The Road, Nights of Cabiria, La dolce vita, 8 1/2, Juliet of the Spirits, Satyricon, The Clowns, Roma, Amarcord, Casanova, and Orchestra Rehearsal. Rota's music for Visconti will be examined in Senso, the Leopard, and Rocco and his Brothers, along with his Transatlantic collaboration for The Godfather. Morricone's work with various directors will be discussed in The Good, the Bad, and the Ugly, The Battle of Algiers, and Teorema, as well as for American films such as Malick's Days of Heaven and Tarantino's The Hateful Eight. Weekly screenings required. Open to all: music majors, minors, and non-majors; will count toward requirements for music minor. Knowledge of music and Italian helpful but not required. All readings and lectures in English.	ITAL1440401, ITAL1440401	Cross Cultural Analysis
MUSC 1450-001	Songwriting	Anna T Weesner	LERN 210	T 10:15 AM-1:14 PM	Prerequisite: Music 1700 (previously 070) or permission of instructor. (Familiarity with music notation is required.) During this course we will study songwriting from many angles, learning new repertoire from a wide range of styles and eras, and composing both within prescribed boundaries as well as very freely. Attention will be given to the composition of lyrics as well as music. There will be opportunities to give attention to songs you already know, as well as the expectation that you will engage with music you don’t yet know. Assignments will include listening, composing, several short reflection papers, creation of a portfolio of work, and participation in a concert at the end of the term.					https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do?webService=syll&t=202230&c=MUSC1450001
MUSC 1500-401	World Musics and Cultures	Vincent D Kelley	LERN 101	TR 12:00 PM-1:29 PM	This course examines how we as consumers in the "Western" world engage with musical difference largely through the products of the global entertainment industry. We examine music cultures in contact in a variety of ways-- particularly as traditions in transformation. Students gain an understanding of traditional music as live, meaningful person-to-person music making, by examining the music in its original site of production, and then considering its transformation once it is removed, and recontextualized in a variety of ways. The purpose of the course is to enable students to become informed and critical consumers of "World Music" by telling a series of stories about particular recordings made with, or using the music of, peoples culturally and geographically distant from the US. Students come to understand that not all music downloads containing music from unfamiliar places are the same, and that particular recordings may be embedded in intriguing and controversial narratives of production and consumption. At the very least, students should emerge from the class with a clear understanding that the production, distribution, and consumption of world music is rarely a neutral process. Fulfills College Cross Cultural Foundational Requirement.	AFRC1500401, AFRC1500401, AFRC1500401, ANTH1500401, ANTH1500401, ANTH1500401	Arts & Letters Sector Cross Cultural Analysis
MUSC 1500-402	World Musics and Cultures	Julia F Peters	LERN 102	MW 8:30 AM-9:59 AM	This course examines how we as consumers in the "Western" world engage with musical difference largely through the products of the global entertainment industry. We examine music cultures in contact in a variety of ways-- particularly as traditions in transformation. Students gain an understanding of traditional music as live, meaningful person-to-person music making, by examining the music in its original site of production, and then considering its transformation once it is removed, and recontextualized in a variety of ways. The purpose of the course is to enable students to become informed and critical consumers of "World Music" by telling a series of stories about particular recordings made with, or using the music of, peoples culturally and geographically distant from the US. Students come to understand that not all music downloads containing music from unfamiliar places are the same, and that particular recordings may be embedded in intriguing and controversial narratives of production and consumption. At the very least, students should emerge from the class with a clear understanding that the production, distribution, and consumption of world music is rarely a neutral process. Fulfills College Cross Cultural Foundational Requirement.	AFRC1500402, AFRC1500402, AFRC1500402, ANTH1500402, ANTH1500402, ANTH1500402	Cross Cultural Analysis Arts & Letters Sector
MUSC 1510-401	Music of Africa	Carol Ann Muller			African Contemporary Music: North, South, East, and West. Come to know contemporary Africa through the sounds of its music: from South African kwela, jazz, marabi, and kwaito to Zimbabwean chimurenga; Central African soukous and pygmy pop; West African Fuji, and North African rai and hophop. Through reading and listening to live performance, audio and video recordings, we will examine the music of Africa and its intersections with politics, history, gender, and religion in the colonial and post colonial era. (Formerly Music 053). Fulfills College Cross Cultural Foundational Requirement. Online course. Online Course Fee $150.00 Course meets online on THURSDAY 1015-115 p.m.	AFRC1510401, AFRC1510401	Cross Cultural Analysis Arts & Letters Sector			https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do?webService=syll&t=202230&c=MUSC1510401
MUSC 1700-001	Introduction to Theory and Musicianship	Jairo A Moreno	LERN 102	TR 12:00 PM-1:29 PM	This course will cover basic skills and vocabulary for reading, hearing, performing, analyzing, and writing music. Students will gain command of musical rudiments, including notation, reading and writing in treble and bass clefs, intervals, keys, scales, triads and seventh chords, and competence in basic melodic and formal analysis. The course will include an overview of basic diatonic harmony, introduction to harmonic function and tonicization. Musicianship skills will include interval and chord recognition, rhythmic and melodic dictation and familiarity with the keyboard. There will be in-depth study of selected compositions from the "common practice" Western tradition, including classical, jazz, blues and other popular examples. Listening skills--both with scores (including lead sheets, figured bass and standard notation), and without--will be emphasized. There is no prerequisite. Students with some background in music may place out of this course and into Music 170, Theory and Musicianship I. Fulfills College Formal Reasoning and Analysis Foundational Requirement.		Formal Reasoning & Analysis
MUSC 1700-002	Introduction to Theory and Musicianship	Kristopher D Bendrick	LERN 210	MW 10:15 AM-11:44 AM	This course will cover basic skills and vocabulary for reading, hearing, performing, analyzing, and writing music. Students will gain command of musical rudiments, including notation, reading and writing in treble and bass clefs, intervals, keys, scales, triads and seventh chords, and competence in basic melodic and formal analysis. The course will include an overview of basic diatonic harmony, introduction to harmonic function and tonicization. Musicianship skills will include interval and chord recognition, rhythmic and melodic dictation and familiarity with the keyboard. There will be in-depth study of selected compositions from the "common practice" Western tradition, including classical, jazz, blues and other popular examples. Listening skills--both with scores (including lead sheets, figured bass and standard notation), and without--will be emphasized. There is no prerequisite. Students with some background in music may place out of this course and into Music 170, Theory and Musicianship I. Fulfills College Formal Reasoning and Analysis Foundational Requirement.		Formal Reasoning & Analysis			https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do?webService=syll&t=202230&c=MUSC1700002
MUSC 1700-003	Introduction to Theory and Musicianship	Brendan G Mcmullen	BENN 407	TR 10:15 AM-11:44 AM	This course will cover basic skills and vocabulary for reading, hearing, performing, analyzing, and writing music. Students will gain command of musical rudiments, including notation, reading and writing in treble and bass clefs, intervals, keys, scales, triads and seventh chords, and competence in basic melodic and formal analysis. The course will include an overview of basic diatonic harmony, introduction to harmonic function and tonicization. Musicianship skills will include interval and chord recognition, rhythmic and melodic dictation and familiarity with the keyboard. There will be in-depth study of selected compositions from the "common practice" Western tradition, including classical, jazz, blues and other popular examples. Listening skills--both with scores (including lead sheets, figured bass and standard notation), and without--will be emphasized. There is no prerequisite. Students with some background in music may place out of this course and into Music 170, Theory and Musicianship I. Fulfills College Formal Reasoning and Analysis Foundational Requirement.		Formal Reasoning & Analysis
MUSC 1700-004	Introduction to Theory and Musicianship	Susanna R Payne-Passmore	LERN 210	MW 12:00 PM-1:29 PM	This course will cover basic skills and vocabulary for reading, hearing, performing, analyzing, and writing music. Students will gain command of musical rudiments, including notation, reading and writing in treble and bass clefs, intervals, keys, scales, triads and seventh chords, and competence in basic melodic and formal analysis. The course will include an overview of basic diatonic harmony, introduction to harmonic function and tonicization. Musicianship skills will include interval and chord recognition, rhythmic and melodic dictation and familiarity with the keyboard. There will be in-depth study of selected compositions from the "common practice" Western tradition, including classical, jazz, blues and other popular examples. Listening skills--both with scores (including lead sheets, figured bass and standard notation), and without--will be emphasized. There is no prerequisite. Students with some background in music may place out of this course and into Music 170, Theory and Musicianship I. Fulfills College Formal Reasoning and Analysis Foundational Requirement.		Formal Reasoning & Analysis			https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do?webService=syll&t=202230&c=MUSC1700004
MUSC 1999-001	Guided Research				Individual research under the supervision of a member of the faculty.			Perm Needed From Department
MUSC 2300-001	Introduction to European Art Music	Mary C Caldwell	LERN 102	MW 10:15 AM-11:44 AM	This course aims to introduce students to what it means to study the European musical tradition. Students will approach the diverse music that constitute the classical tradition from a variety of scholarly perspectives. The goal of this class is to listen deeply and think broadly. Students will consider questions such as: what sort of object is music? Where is it located? What does it mean to say a work is "canonic"? What is left out of the story? This class will be in dialog with other tier-one classes, and will consider what the historian can bring to the study and understanding of music. Fulfills the requirements of the Music major.					https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do?webService=syll&t=202230&c=MUSC2300001
MUSC 2700-001	Theory and Musicianship I	Jamuna S Samuel	BENN 407	TR 12:00 PM-1:29 PM	Introduction to and development of principles of tonal voice-leading, harmonic function, counterpoint, and form through written analysis, composition, improvisation, and written work. Course covers diatonic harmony and introduction to chromaticism. Repertoires will focus on Western classical music. Musicianship component will include sight-singing, dictation keyboard harmony. Fulfills College Formal Reasoning and Analysis Foundational Requirement.		Formal Reasoning & Analysis
MUSC 2700-101	Theory and Musicianship I	Catherine B Chamblee	BENN 406	MW 12:00 PM-12:59 PM	Introduction to and development of principles of tonal voice-leading, harmonic function, counterpoint, and form through written analysis, composition, improvisation, and written work. Course covers diatonic harmony and introduction to chromaticism. Repertoires will focus on Western classical music. Musicianship component will include sight-singing, dictation keyboard harmony. Fulfills College Formal Reasoning and Analysis Foundational Requirement.		Formal Reasoning & Analysis			https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do?webService=syll&t=202230&c=MUSC2700101
MUSC 3210-301	Recording Music.	Eugene Lew	LERN 101	W 3:30 PM-6:29 PM	An introduction to music and sound recording with a focus on concerts and live performances. The entire process will be examined from start to finish, including the roles played by composers, musicians, listeners, performance spaces, and recording technology. Meetings will take place in the classroom, in concert spaces and in the studio. Music majors and minors will be given preference for registration.
MUSC 3322-001	SOUND TRACKS: MUSIC, MEMORY, AND MIGRATION	Ioanida Costache	LERN 101	F 10:15 AM-1:14 PM	Music records racial and ethnic histories. How can critically listening to the musics of diasporic and migratory peoples attune us to the processes of identity formation, racialization, and self-understanding? In this course will gain deeper insights into how communities have used music to respond to the challenges of migration and minoritization under ever-changing nationalist frames. As we listen to musics from the Romani, Jewish, African, and Latinx diasporas, we explore how race, ethnicity, identity, heritage, nationalism, minoritization, hybridity, and diversity are refracted through sound. Fundamental questions will include: How does sound travel? How do groups use music to define themselves? How is cultural heritage and history inscribed in song? How does music generate communities? How does music help us tell stories of forced and voluntary migrations? How have diasporic musics been truths, aspirations, contact zones, and myths?
MUSC 3450-401	Studies in African-American Music	Jasmine A Henry	LERN 101	TR 10:15 AM-11:44 AM	This course explores aspects of the origins, style development, aesthetic philosophies, historiography, and contemporary conventions of African-American musical traditions. Topics covered include: the music of West and Central Africa, the music of colonial America, 19th century church and dance music, minstrelsy, music of the Harlem Renaissance, jazz, blues, gospel, hip-hop, and film music. Special attention is given to the ways that black music produces "meaning" and to how the social energy circulating within black music articulates myriad issues about American identity at specific histroical moments. The course will also engage other expressive art forms from visual and literary sources in order to better position music making into the larger framework of African American aesthetics. (Formerly Music 146).	AFRC3450401, AFRC3450401	Cultural Diviserity in the U.S.
MUSC 3460-401	The Blackness of Rock: Revisiting Histories of Race, Gender, and Genre	Timothy Rommen	LERN 102	T 1:45 PM-4:44 PM	This course explores the history of rock music by focusing specifically on the innovations and contributions of black musicians. The course will address itself to the legacies of race records, the uninterrupted appropriation of black sounds by white artists (think Elvis), and the further complications introduced by the British Invasion, all while focusing on individual artists such as Fats Domino, Big Mama Thornton, Bo Diddley, Chuck Berry, Sister Rosetta Tharpe, and Jimi Hendrix. The course will highlight and offer hands-on explorations of the innovations brought to rock music by these black artists. And, because the guitar is such an iconic instrument in rock, the course also will introduce students, through a series of labs, to the gear that makes these sounds possible. Understanding how amplifiers, effects pedals, and guitars interact and produce radically divergent sounds depending on how they are set up will offer insights into the artistry of these early rock musicians. Understanding the circuits, and how using (and abusing) them in particular ways is part of the materiality of rock's sound, will help shed light on the extent to which creative engagement with technology determined particular sonic pathways within the genre (distortion, overdrive, fuzz, feedback, etc.). And, these innovations literally shaped the future of rock, providing a foundation of sound and style and a particular relationship to gear that extends into the present. The final unit of the course will explore the racial politics, gender dynamics, and industry structures that have buried the black histories of rock and sidelined women's crucial contributions to the genre, contributing to rock's framing and marketing as a (mostly) male, white genre. The course will also ask how black musicians who perform rock today, such as Tosin Abasi, Lenny Kravitz, Brittany Howard of the Alabama Shakes, Bad Brains, Big Joanie, and Living Colour, among many others, negotiate these politics, these silenced histories, these industry barriers, and these audience expectations?	AFRC3460401, AFRC3460401
MUSC 3660-301	Performance, Analysis, History	Tyshawn Sorey	LERN 102	W 12:00 PM-2:59 PM	Interested students can expect to audition and complete an interview to enroll in MUSC3660. This is a course for majors who have completed ONE additional MUSC course as well as MUSC2700. There is an expectation that the student auditioning knows something about improvisation, both in the field of “jazz” and in more general principles on improvisation…in historiography and in actual playing. There will be a great deal of playing and listening involved in MUSC3660. Course requirements also include a final paper, a composition, or an ethnography (any of these which will contain some form of analysis) at the end of the term. Students interested in auditioning should email mmsmith@sas.upenn.edu.			Perm Needed From Department
MUSC 4097-001	Honors Thesis (sem1/.5 c.u.)	Jairo A Moreno			Individual research under the supervision of a member of the faculty. Guidelines for Honors Thesis can be found:https://music.sas.upenn.edu/
MUSC 4098-001	Honor's Thesis (Sem2/.5 c.u.)	Mary C Caldwell			Individual research under the supervision of a member of the faculty. Guidelines for Honors Thesis can be found: https://music.sas.upenn.edu/			Perm Needed From Department
MUSC 4300-301	Seminar in Music History	Jeffrey L Kallberg	LERN CONF	R 1:45 PM-4:44 PM	This is an advanced seminar, primarily for juniors and seniors who are prepared to engage deeply and critically with a specialized research topic. The topic of the seminar focuses on a particular genre or body of repertoire, music-maker or composer, or the cultural and social dynamics of a period in music history. Topics include: late Renaissance musical settings of vernacular texts; opera and its performance; music and digital humanities.
MUSC 6230-301	Composing with Performers	Tyshawn Sorey	LERN 102	M 5:15 PM-8:14 PM	The goal of this course is to explore and mine for possibilities the space between a score and the performance of a score. What do performers bring to a piece of music and how do composers best anticipate these possibilities? How much “room” for interpretation exists and how do composers capitalize on it? What is performance practice? The course will engage compositional techniques in connection with a wide of range of performance practices. In order to highlight and pursue elements of interpretation in music performance, students will coach performers in both old and new repertoire. The course will involve interactions with live performers, often Penn’s string quartet-in-residence, The Daedalus Quartet. Other topics may include notational solutions, the role of improvisation, aleatoric techniques, and music analysis. Please see department website https://music.sas.upenn.edu/courses for current term course descriptions.
MUSC 6300-301	Historical and Historiographic Approaches	Mary C Caldwell	LERN CONF	W 1:45 PM-4:44 PM	Gender, Sexuality, and Early Music: 20 Years Later This seminar considers the intersection of gender, sexuality, and music in the European Middle Ages, revisiting twenty years after its 2002 publication the same concepts and methodologies explored in an edited collection by Todd M. Borgerding, Gender, Sexuality, and Early Music. By contrast to the chronologically later focus of that volume on the 16th-18th centuries, we will focus chiefly on music and music making between the 10th to 15th centuries. In addition to exploring what the last twenty years have offered in musicology, we will engage with rich scholarship emerging in medieval studies on gender, sexuality, and the queering of the Middle Ages, as well as with contemporary theoretical frameworks outside of music and medieval studies.					https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do?webService=syll&t=202230&c=MUSC6300301
MUSC 7210-001	Composition Studio and Forum	Natacha Diels	BENN 419	W 1:45 PM-4:44 PM	Composer's Forum is a regular meeting of graduate composers, often along with other members of the Penn composing community, in which recent performances are discussed, musical issues taken up, and visitors occasionally welcomed to present their work or offer master classes. In addition to weekly Forum meetings, students will be paired with a composer for individual lessons in composition. Ph.d. Candidates in Composition in their third year in the program will continue non-credit participation in both forum and lessons.
MUSC 7210-201	Composition Studio and Forum	Natacha Diels			Composer's Forum is a regular meeting of graduate composers, often along with other members of the Penn composing community, in which recent performances are discussed, musical issues taken up, and visitors occasionally welcomed to present their work or offer master classes. In addition to weekly Forum meetings, students will be paired with a composer for individual lessons in composition. Ph.d. Candidates in Composition in their third year in the program will continue non-credit participation in both forum and lessons.
MUSC 7210-202	Composition Studio and Forum	Tyshawn Sorey			Composer's Forum is a regular meeting of graduate composers, often along with other members of the Penn composing community, in which recent performances are discussed, musical issues taken up, and visitors occasionally welcomed to present their work or offer master classes. In addition to weekly Forum meetings, students will be paired with a composer for individual lessons in composition. Ph.d. Candidates in Composition in their third year in the program will continue non-credit participation in both forum and lessons.
MUSC 7210-203	Composition Studio and Forum	Anna T Weesner			Composer's Forum is a regular meeting of graduate composers, often along with other members of the Penn composing community, in which recent performances are discussed, musical issues taken up, and visitors occasionally welcomed to present their work or offer master classes. In addition to weekly Forum meetings, students will be paired with a composer for individual lessons in composition. Ph.d. Candidates in Composition in their third year in the program will continue non-credit participation in both forum and lessons.
MUSC 7330-301	Studies in 18th Century Music	Glenda Goodman	LERN CONF	M 1:45 PM-4:44 PM	Music, Books, Power This seminar takes as its objects of study music books. Or rather, “books,” for we will explore all manner of material texts that represent the intersection of inscription and sound. We will focus on the eighteenth-century Atlantic World, a period and place in which mass print ramped up but did not replace prior formats, and a period in which published music was the critical locus for questions of ownership, authorship, creativity, taste, and various forms of power. Students will become conversant with musicological scholarship on music and print, with interdisciplinary scholarship on book history and critical bibliography, as well as work in feminist bibliography, format studies, material culture studies and the study of “things”. Core questions for the course include: how do material artefacts themselves present evidence though which we can assess their musical, cultural, and social impacts on people in the past? How did technology and human agents interact in the making and using of music books? What roles did various actors—performers, composers, audiences, publishers and printers—play in the creation and circulation of music books? And how does the “bookification” of music, its distribution in tangible, material form, bear upon questions of value and meaning in music?					https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do?webService=syll&t=202230&c=MUSC7330301
MUSC 7700-301	Studies in Music Theory and Analysis	Jairo A Moreno	LERN CONF	T 1:45 PM-4:44 PM	Liminologies Few matters are as perplexing at the present conjuncture than the coexistence of two radically opposing tendencies: on the one hand, a ferocious and militant commitment to identity and the shoring up of clearly defined and unmovable limits between things, and, on the other, an equally passionate and urgent commitment to relationality and the constant traversal and/or erasure of limits between things, an “age of entanglement” (Mbembe 2017). Consider disciplinary objects. For Music Studies, no barrier more formidable exists than the fact that something called music exists and that, no matter how finely contextualized “culturally” and “historically,” it holds an unquestionable central place in our work. Music Studies, one might say, begins with this axiom and only then seeks to establish relations that attend to its object’s existence, persistence, and, these days, possible subsistence. Sound Studies confronts a nearly opposite situation, its object famously under question, open and relational—in fact, often serving as a model for relationality as such. Scholars and practitioners then endeavor to identify the specific conditions of possibility for its existence in particularly determined spheres. We may sum this up in terms of a renewed version of an ancient problem, the relation of the One and the Many, one for which the character of delimiting which is which is of the essence. The question today, as earlier, is one of limits: determining their nature, affirming their values and validity, surveilling their domains, keeping watch (and hearing) at the gates they enforce, and equally about challenging them, transforming or disavowing their values, breaking through their gates. Liminologies names these structuring and ordering relations. The seminar will consider both the theoretical organization of limits (their conditions of possibility) and their positive, perhaps even empirical, expressions. Our study is organized in three parts: (i) Logics of the limit in philosophical discourse; (ii) Notions of difference in political theory; (iii) Limits in specific sociopolitical, cultural, and natural terrains, including those that name terrains as being social, political, cultural, and/or natural. We will consider the dynamics at the heart of notions such as Center/Periphery, Same/Other, Inclusion/Exclusion, as well as others that disrupt and even sabotage the dualistic logic of limits, including Extensive/Intensive Differences, Différance, Individuation, and Systems theories. Specific topics include, World-Systems Theory, Coloniality/Modernity (and within it, Race and Racialization), Community and Immunity, Species-ism, Relationality, Individualism and Individuation, as well as models that attempt to think intermixings (Hybridity, Transculturation, and Synchretism) and disavowals (Queerness). We will think across a number of disciplines: Sound Studies, Anthropology, Political Theory, Continental Philosophy, Critical Race Theory, Queer Studies, Gender and Sexuality Studies. Authors include, Wallerstein, Simondon, Haraway, Irigaray, Butler, Braidotti, Halberstam, Derrida, Badiou, Foucault, Lorde, Strathern, Laclau, Rancière, Ochoa Gautier, Feld, Viveiros de Castro.