This course surveys seven Baroque and Classical genres: opera, oratorio, cantata, sonata, concerto, quartet, symphony, and includes work by composers Bach, Handel, Haydn, Monteverdi, Mozart, Purcell, Schütz and Vivaldi. Course work is based on live performances as well as listening and reading assignments.

This course will focus on issues that arise in contemporary public debate concerning matters of social justice. Topics will likely include: euthanasia, gay marriage, racism and racial profiling, free speech, hunger and global inequality. Students will be exposed to multiple points of view on the topics and will be given guidance in analyzing the moral frameworks informing opposing positions. The goal will be to provide the basis for respectful and informed discussion of matters of common moral concern.

This course is an examination of philosophical theories of action and motivation in the light of empirical findings from social psychology, sociology, and neuroscience. Topics include belief, desire, and moral motivation; sympathy and empathy; intentions and other committing states; strength of will and weakness of will; free will; addiction and compulsion; guilt, shame and regret; evil; self-knowledge and self-deception; and, virtues and character traits.
This course is a CI-M course.

This course introduces students to the basic concepts and methods of moral and political philosophy. Its primary focus is on the development of moral reasoning skills and the application of those skills to contemporary social and political issues. Upon successful completion of this course, students will be able to: Discuss several major theories of justice and morality, including utilitarianism, libertarianism, social contract theory, deontology, and the ethics/politics of virtue; Demonstrate how moral and political dilemmas are handled differently by each set of theoretical principles; Develop their analytical skills through interpreting the consequences of various moral principles and revising principles to correspond with their own conceptions of justice; Discuss the relationship between morality and politics; Formulate their own positions concerning moral and political principles, especially in regards to particular issues discussed in this course; Discuss the origins of western democratic politics and constitutional government; Address a range of difficult and controversial moral and political issues, including murder, the income tax, corporate cost-benefit analysis, lying, affirmative action, and same-sex marriage. (Philosophy 103)

Word Count: 40939

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Una colección de textos para el debate

Short Description:
Una compilación de textos escritos por autoras (latinoamericanas, españolas y latinas) que manifiestan un interés especial por la cuestión medioambiental. Estos textos y las actividades de comprensión y reflexión que los acompañan contribuyen: i) a familiarizarse con varias categorías relevantes del feminismo y del ecofeminismo y ii) a explorar, desde una perspectiva ecofeminista, algunos temas recurrentes en la literatura escrita por mujeres.

Long Description:
La feminización de la naturaleza y la naturalización de la mujer son referentes comunes en diversas culturas. ¿Cómo se aproximan las mujeres a esta asociación? ¿Cómo hablan del medioambiente y de los goces y las problemáticas que este les trae? En este libro prestamos oído a voces de mujeres que se expresan sobre la cuestión. Presentamos una compilación de textos escritos por autoras (latinoamericanas, españolas y latinas) que manifiestan un interés especial por la cuestión medioambiental.

Este libro ofrece la posibilidad de que los estudiantes se familiaricen con conceptos relevantes en el debate feminista y ecofeminista actual, caso de los cuidados, la ecodependencia, la interdependencia y la explotación de los recursos naturales y sociales. Asimismo, contribuye a revisar, desde una perspectiva ecofeminista, algunos temas recurrentes en la literatura escrita por mujeres, caso de la maternidad, el cuerpo y la sexualidad femenina, la violencia, la justicia y la igualdad.

El libro incluye autoras del canon literario español, latinoamericano y latino, además de un amplio repertorio de nuevas voces. La selección busca visibilizar el discurso público elaborado por las mujeres en un contexto social en que persiste su silenciamiento.

Word Count: 71183

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This OER is a culmination of conversations, pedagogical practices, and ways of being together that developed as a collaboration between co-authors Borbala Gaspar (bgaspar@arizona.edu) and Chantelle Warner (warnerc@arizona.edu) and the engaged group of students who took part in a year-long series of extracurricular gatherings, which served as an exploratory space for the ideas shared in this handbook. The poetry club evolved from the authors’ shared desire to create a space adjacent to the classrooms in their language programs (Italian and German respectively) where students could explore the aesthetic and affective endeavor of language learning, rooted in the human capacity for exploring alternative ways of making sense of themselves, the world, and their experiences within it.
This handbook is intended as a resource for educators who wish to develop a similar extracurricular club or who are looking for inspiration for their classrooms. In the first chapter of the handbook, we introduce you to the background of the project and the current discussions of well-being in higher education. Part two provides an overview of the conceptual underpinnings of multilingual making and poetic play as ways of engaging with language and language learning. Core concepts and principles are outlined, emphasizing the significance of living together in and through languages, and the role of multilingual making when learning a new language. The handbook explores various forms of poetic play, such as collage, response artwork to poetry, clay work and visual representation of poems. It delves into core principles for establishing a multilingual poetry club offering guidance on creating and sustaining such a club. Sample activities illustrate each example including collage, mixed media, limericks, and remarks from the authors and creators of the artworks. Additional resources such as blackout poetry and other ideas that could potentially further engage club members in creative expression are included as well. Finally, this book concludes with reflections and additional resources for educators interested in promoting multilingualism and creativity through poetry.
After reading this handbook, you will be able to…
Identify the key factors that students indicate as influencing their sense of belonging;
Define and discuss key concepts and terms related to playful poetry and living literacies approach, and relate them to other discussions in the field of second language teaching and learning;
Explore the forms and functions of multimodality and living literacies in the examples;
Reflect on how to apply these ideas into your context.

Word Count: 25772

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Multimodal Musicianship is an open educational resource for learning music theory and ear training. The content engages concepts related to tonal harmony, suitable for a two- or three-semester music theory and ear training curriculum in a liberal arts college or other higher education setting. This collection of materials offers multiple modes of engaging content—with text, musical examples, audio examples, video content, application activities, and links to supplemental content—designed for users to learn and reinforce their knowledge according to their learning styles and needs.

This resource is a full course that was made and taught by Professor Helms at Plymouth State.

Welcome to Music 101.  I think you’ve made a smart choice to spend some weeks studying some of the greatest music ever written.  Consider for a moment how quickly a hit pop song passes from fashionable to forgotten.  Those of us that have been out of high school or college more years than we care to remember have certainly had the experience of hearing a favorite anthem of our youth and thinking, “Oh yeah, that song!  I’d forgotten that one.”  Think about that: the song was totally loved, then completely forgotten within a matter of just a few years.  Then consider that many of the composers that we will study have been dead for over two hundred years, and yet their music has never been forgotten and never stopped being performed and loved.  That, quite simply, is amazing.

This text is broken into five modules: Universals, Instruments, Rhythm, Melody, Harmony, and Texture, and Form. The text offers basic information on the aforementioned concepts. Supplemental materials (i.e. music examples) will be needed.

This text covers basic elements and vocabulary of music; appreciation and understanding of diverse styles of music past and present; developing listening skills. Includes opportunities for experiencing music (recorded and/or live).
I. Music Fundamentals
II. History of Western Music before 1600
III. History of Western Music after 1600
IV. Music of the 20th and 21st Centuries
V. Listening to Genres
VI. Music of Louisiana, the Americas, and the World

This course features directed composition of larger forms of original writing involving voices and/or instruments. It includes a weekly seminar in composition for the presentation and discussion of work in progress. Students are expected to produce at least one substantive work, performed in public, by the end of the term. Contemporary compositions and major works from 20th-century music literature are studied.

Music, Dance and the Archive reimagines records of performance cultures from the archive through collaborative and creative research. In this edited volume, Amanda Harris, Linda Barwick and Jakelin Troy bring together performing artists, cultural leaders and interdisciplinary scholars to highlight the limits of archival records of music and dance. Through artistic methods drawn from Indigenous methodologies, dance studies and song practices, the contributors explore modes of re-embodying archival records, renewing song practices, countering colonial narratives and re-presenting performance traditions. The book’s nine chapters are written by song and dance practitioners, curators, music and dance historians, anthropologists, linguists and musicologists, who explore music and dance by Indigenous people from the West, far north and southeast of the Australian continent, and from Aotearoa New Zealand, Taiwan and Turtle Island (North America).

This collection is the first of five dealing with the rudiments of music.

This collection is the second of five dealing with the rudiments of music.

Welcome to Music 1300, Music: Its Language History, and Culture. The course has a number of interrelated objectives:
1. To introduce you to works representative of a variety of music traditions.These include the repertoires of Western Europe from the Middle Agesthrough the present; of the United States, including art music, jazz, folk, rock, musical theater; and from at least two non-Western world areas (Africa, Asia, Latin America, the Caribbean, the Middle East, Indian subcontinent).
2. To enable you to speak and write about the features of the music you study,employing vocabulary and concepts of melody, rhythm, harmony, texture, timbre,and form used by musicians.
3. To explore with you the historic, social, and cultural contexts and the role of class, ethnicity, and gender in the creation and performance of music,including practices of improvisation and the implications of oral andnotated transmission.
4. To acquaint you with the sources of musical sounds—instruments and voices fromdifferent cultures, found sounds, electronically generated sounds; basic principlesthat determine pitch and timbre.
5. To examine the influence of technology, mass media, globalization, and transnationalcurrents on the music of today.
The chapters in this reader contain definitions and explanations of musical terms and concepts,short essays on subjects related to music as a creative performing art, biographical sketchesof major figures in music, and historical and cultural background information on music fromdifferent periods and places.

This course begins with the premise that the 1960s mark a great dividing point in the history of 20th century Western musical culture, and explores the ways in which various social and artistic concerns of composers, performers, and listeners have evolved since that decade. It focuses on works by classical composers from around the world. Topics include the impact of rock, as it developed during the 1960s - 70s; the concurrent emergence of post serial, neotonal, minimalist, and new age styles; the globalization of Western musical traditions; the impact of new technologies; and the significance of music video, video games, and other versions of multimedia. The course interweaves discussion of these topics with close study of seminal musical works, evenly distributed across the four decades since 1960; works by MIT composers are included.

Music Theory for the 21st–Century Classroom is an openly–licensed online four–semester college music theory textbook. This text differs from other music theory textbooks by focusing less on four–part (SATB) voiceleading and more on relating harmony to the phrase. Also, in traditional music theory textbooks, there is little emphasis on motivic analysis and analysis of melodic units smaller than the phrase. In my opinion, this led to students having difficulty with creating melodies, since the training they are given is typically to write a “melody” in quarter notes in the soprano voice of part writing exercises. When the assignments in those texts ask students to do more than this, the majority of the students struggle to create a melody with continuity and with appropriate placement of harmonies within a phrase because the text had not prepared them to do so.