Courses

MUS 103
Afro-Pop Ensemble (3)
From Jiti to Jitjive, this ensemble learns and performs contemporary popular music of Africa. Precise rhythms and lively singing are the backbone of the ensemble. All instruments are welcome, and there's plenty of room for those who don't play a standard Western instrument. Come with enthusiasm and be prepared to sing.

MUS 110
African Marimba Ensemble (2)
This ensemble class focuses on the exciting, interlocking rhythms and melodies played by the Shona people of Zimbabwe. The ensemble consists of seven marimbas (three sopranos, two tenors, baritone and the giant bass) along with drums and other percussion. The class is primarily hands-on, learning music in a community setting, but students also explore the rich cultural tradition and history of the Shona people and compare the music of Zimbabwe with other xylophone traditions in Africa and throughout the world. No previous musical experience is necessary.

MUS 200
Musicianship I (3)
Training in skills necessary for the performance of many types of music including classical, jazz, folk and popular styles. Through games, exercises, theoretical analysis, improvisation and composition, students develop rhythmic precision, aural skills and an understanding of the basic principles of music theory. Topics include intervals, major and minor scales, key signatures, meter and notation.

MUS 208
Naropa Chorus (3)
In an atmosphere of discovery and experimentation, students explore three basic themes: body awareness, voice control and performance. Using body awareness exercises, the Estill Voice Model and music from all periods of music history (Medieval, Renaissance, Baroque, classical, folk, pop, jazz, world and contemporary), students learn how to breathe freely, stand and move dynamically, and sing in many styles and voice qualities with comfort and confidence. Participants must be able to carry a tune. The ability to read music is helpful, but not essential. The aim of the class is to learn how your voice actually works, how to use your whole self while singing and to apply this knowledge and awareness to various vocal styles in performance.

MUS 210
Musicianship II (3)
A continuation of MUS 200. Additional topics include four-part writing, the modes, harmonic analysis and seventh chords. Prerequisite: MUS 200 or its equivalent.

MUS 215
Rhythm Hemispheres: World Percussion Traditions (3)
Introduction to a wide scope of musical traditions as embodied in the study of percussion. The course covers World percussive traditions, including African, Asian, Indian, South American, North American and European traditions from a variety of periods of music history. Different traditions and periods are covered from year to year. The ability to read music is helpful, but not essential.

MUS 220
Declaration Passage (noncredit)
The Declaration Passage is a scheduled meeting between the student, a chosen faculty from the Music Department and the chair of the Music Department in order for the student to officially declare a major in Music.

MUS 225
Balinese Gamelan Orchestra (2)
This class provides an introduction to the traditional music of Bali using Naropa University's Gamelan Orchestra. Gamelan is a musical form dominated by percussion instruments similar to the xylophone, as well as drums, gong, cymbas, Gamelan flutes and voice. Gamelan is often used to accompany dance, theatre or puppetry. The Gamelan Orchestra appears in concert at the end of each semester. No previous experience is required.

MUS 230
Improvisation (2)
Improvisation is the disciplined practice of awareness, precision and generosity. Through open playing, exercises and simple composition, students explore various means of individual and group creativity. In this class, we learn by doing.

MUS 250
Music Appreciation: Music of the Old World, the New World and Beyond (3)
An introduction to the sound of the world through the music of many cultures. Students gain a basic understanding of music history and theory, and an appreciation of the wisdom and beauty of music from a multicultural perspective. A comparative introduction to basic musical principles including rhythm, melody, harmony, notation and instrumentation from the perspectives of China, Japan, the United States, Europe and Africa. This course offers students insight into our human heritage through a broad overview of human music making. Open to all students.

MUS 255/555
Introduction to World Music: The Music of Japan (3)
The music of Japan features a tradition of musical preservation and evolution spanning more than a thousand years. This course uses the combination of the universal experience of music and the unique characteristics of specific musical traditions as its starting point. It aims at musical appreciation and enjoyment through the discovery of the practice and preservation of musical traditions ranging from prehistoric to folk and classical on such instruments as the shakuhachi (traditional bamboo flute), shamisen (three-string lute) and koto (thirteen-string zyther). No previous experience in music is required. Alternates with Introduction to World Music: The Music of India.

MUS 255/555
Introduction to World Music: The Music of India (3)
Through lectures, recordings, demonstration and interactive discussion, this course provides an introduction to the concepts and structure of both North (Hindustani) and South (Karnataka) Indian styles. We cover the fundamental elements of raga, tala and laya, as well as the musical instruments and history of Indian music within the context of Indian culture, society and religion. Some comparisons to Western musical concepts and performance are included. No previous experience in music is required. Alternates with Introduction to World Music: The Music of Japan.

MUS 260
Listening to Jazz (3)
Open to all students, this class examines the multifaceted traditions of jazz, arguably the most significant musical development of the twentieth century. Through readings and by listening to recorded examples and to live music, students explore the cultural and artistic elements of this richly expressive musical form.

MUS 265/535
Jazz Ensemble (2)
Jazz performance ranges from the complex compositions and arrangements of Duke Ellington to the colorfully expressive "free jazz" of Ornette Coleman. The Naropa Jazz Ensemble explores many aspects of jazz including improvisation and student composition, with emphasis on the arrangement and rehearsal of music for a performance at the end of the term. Students audition with the instructor on the first day of class.

MUS 268
Indian Classical Ensemble (3)
An ensemble course offered to instrumentalists and vocalists interested in exposure to music from the Indian classical tradition. The focus is on multi-instrumental works that allow for a broad range of instruments (including singers), accommodating unique timbres and ranges. Students learn the different elements that make up a "raga" performance such as alap, jor, tans and tal while learning compositions and developing improvisational skills. Following Indian classical tradition, the music is transmitted orally from teacher to student. Because of the challenging nature of Indian classical music, students should be fluid on their instrument. Indian instruments are also welcome.

MUS 270
Guitar Ensemble (2)
The scope of the Guitar Ensemble ranges from the complex compositions and arrangements of such groups as the League of Crafty Guitarists and the LA Guitar Quartet to expresive and free improv ensembles inspired by legends such as Derek Bailey and Fred Frith, with explorations of the landscapes between these extremes: The Assad Brothers and The Guitar Trio (McLaughlin/Dimeola/deLucia).The Naropa Guitar Ensemble explores many aspects of guitar performance including improvisation and student composition, with emphasis on the arrangement and rehearsal of music for a performance at the end of the semester. Each student auditions on the first day of class to clarify each participant's intention.

MUS 280/580
Recording Studio I: Introduction to Music Technology (3)
In this class we develop an understanding of the basic principles of acoustics and electronics as they pertain to sound transmission and recording. Of particular concern is the hands-on use of microphones, signal and dynamic processors and multitrack recording equipment both as creative and archival tools. We also gain practical experience through group and individual recording projects that explore the technical differences between analog and digital recording and their respective techniques. Prior recording or music experience, though helpful, is not required.

MUS 330
Junior Passage (noncredit)
The Junior Passage is completed in the first semester of the junior year. It is an informal meeting between a student, a chosen faculty from the Music Department and no more than two student peers who sit in support.

MUS 355
Radio Naropa (3)
Radio Naropa creates a bridge between the Naropa community and KGNU public radio. Students individually DJ a live broadcast and collaboratively produce three shows at KGNU studios in Boulder. The class also covers the social, political and artistic history of radio with a focus on the development of individual and collaborative creative processes and civic engagement. Open to juniors and seniors only.

MUS 360
Musicianship III (3)
Intensive musical training sessions involving sight-singing, musical dictation, rhythmic exercises (using rhythms from India, Africa, Brazil and Cuba, jazz, rock and contemporary classical music) and the study of harmony as used in classical, jazz and pop music. Prerequisite: MUS 210 or equivalent.

MUS 370
Musicianship IV (3)
A continuation of MUS 360. Prerequisite: MUS 360 or its equivalent.

MUS 380
Recording Studio II: Technology and Creativity (3)
Students explore and experiment with the tools of the recording studio and their role in the creative process. Advanced recording and studio techniques are applied. Particular emphasis is given to the use of signal processing (equalization and effects) and digital editing and the creative opportunities provided by these technologies. Group and individual projects are the means through which we foster creativity and its evolution. Prerequisite: MUS 280.

MUS 397/597
Private Music Lessons (0.5-4)
Restrictions apply as to who may take private music lessons for credit. See Private Music Lesson Policy on page 48.

MUS 400
Composition (3)
The content and direction of this course is determined largely by the interests of those enrolled. Alone and together, we explore a variety of unconventional approaches to composition, helping each other diversify as we go. Possible avenues include multitrack recording techniques, alternative intonation systems and composing for dance, theatre and film. Knowledge of conventional music theory and notation and skill on particular instruments is welcome, but not required.

MUS 470
Capstone Passage (noncredit) (3)
The Capstone Passage is the accumulation of the work and process of the Naropa graduate. A final and slightly more formal interview between the student, department chair and a chosen Music Department faculty assesses the growth of the student over the course of his or her time at Naropa, the execution of final work, and offers guidance and support for the student's next life adventure.

MUS 485
Senior Project (1)
Senior Project represents the fruition of a student's work at Naropa and affords students the opportunity to successfully demonstrate the learning objectives of the Music program. Students independently design and execute a performance, recording or other creative project that incorporates vital elements of musicianship and creativity acquired in their training at Naropa. Elements include selecting, arranging or composing the works to be presented; assembling and rehearsing a performance ensemble; lighting and sound design; publicity and other aspects of performance; recording and/or scholarship. This course is geared specifically toward offering students an opportunity to present their creative vision and to provide students with a benchmark in their development as musicians in the world beyond the university. Open to Music majors only.

MUS 490
Special Topics in Music (3)
The Special Topics Seminar investigates specific applications of theories and methods of music not offered in other courses. Specific topics are announced the semester this course is offered. The seminar is open to advanced undergraduate students.

MUS 499
Independent Study (1–3)