Music Opportunities in the College of Arts & Sciences
When you combine music and the broader liberal arts, amazing things can happen.
Taking Classes in the Conservatory
You can be a serious musician in the College of Arts and Sciences. In a typical semester, more than 300 arts and sciences students enroll for credit in conservatory classes. Many of these classes are open to all students; while some, such as music theory and aural skills, require a placement test.
Sample Conservatory Classes
- Intro to Western Art Music
- Intro to Musics of the World
- Intro to African-American Music
- Intro to Ethnomusicology
- Music As Social Life
Topics in Music
- Pop Music and Media
- Practicing Music Criticism
- Philosophy of Music
- Intro to Entrepreneurship
- Arts Behind Bars
- Internalizing Rhythms
- Music Theory
- Aural Skills
- Jazz Aural Skills
- Analysis of World Music
- Voice Class for Non-Majors
- Piano Class for Non-Majors
- Beginning Improvisation
- Historical Performance: Gamba class, Baroque violin class
- Composition for Non-Majors
- Intro to Technology in Music & Related Arts
Music-Related Courses in the College of Arts and Sciences
At Oberlin, you can approach the study of music from almost any direction. Here are a few you can try:
The emphasis of this course is upon the thesis that the Black or `Blues Aesthetic’ is a cultural perspective that emerges from within the experiences of Black people, facing the socio-political and economic conditions of modern and contemporary America. Our focus will be upon the traditions of African American music, literature, theater/film, and specifically the visual arts.
This course explores the relationship between sound and its affect on visual perception in relation to moving images. By practicing the creative application of audio post-production techniques (foley, ADR, sound design, surround mixing) the class will learn about various conceptual elements of sound (diegetic, non-diegetic, on and off screen, visual magnetism). Students will learn to approach sound in film with a better understanding in both theory and application.
The class explores the influence of music on the development of mathematics, specifically the sub-discipline of analysis. From Pythagoras’s tuning problem, an early evidence for the existence of irrational numbers, to finding precise descriptions for pitch and musical timbre, questions from music inspired important developments in mathematics, giving rise to the flourishing subfield known as harmonic analysis. By exploring the influence of music on mathematics, the class will provide an introduction to harmonic analysis, reaching from classical results on the convergence of Fourier series to the theory of the Fourier transform and distributions, and their applications to acoustics.
Using different case studies from around the world, this course examines the power of music in social life. We will explore the meanings and uses of music, such as the way music is used to heighten and ensure spiritual efficacy, to comment on and contribute to social movements, or to make sense of “natural” disasters. Rather than diving deep into musical structures, we will explore music in its cultural, political, religious, economic, historical, and/or ecological contexts. Ultimately, the course gives you critical tools and frames to apply to your own case students.
This course explores interactions of sensory experience, time, and place in which music is an integral part, drawing on texts from performance studies, music history, ethnomusicology, the sociology of culture, media studies, and anthropology, with in-class active listening from music indexed in the texts used to analyze the ways in which music from a variety of genres and time periods structures the intentions and affect of places and the practices they facilitate. (future course)
This course explores the long-standing relationship between verbal art and music in high art, popular, and folk traditions. We will consider: how musical paradigms shape literary aesthetics, song and identity, improvisation in music and verbal art, Romanticism and the dissonance of Modernity in literature and music, the relationship between popular song and poetry, tradition and innovation in oraliture, models of performance in literature and music. Examples drawn from Spanish, Latin American, and U.S. Latino/a traditions. Taught in Spanish.
This course is an introduction to Samba. Deeply enmeshed with Brazil’s colonial history Samba has arisen as a symbol of its cultural and national identity. With dance as our foci, this course will offer an embodied exploration of the racial and cultural mixing at Samba’s root through a study of physical techniques, aesthetics, rhythms and ideology. We will also study the music, history, traditions and socio-cultural context surrounding the dance through readings, videos and discussions.
The lyric poem has always had a close but mysterious relationship to music and song. In the domain of literature, term lyric has designated a type of poem distinct from dramatic or narrative poetry, but in the domain of music, particularly opera, the distinction breaks down, and lyric, drama, and narrative work hand in hand. This course will investigate these relationships by reading and writing the lyrics, both in the poetic and musical sense of the word. Students enrolled in this learning community will work in close collaboration with composers and singers to develop a new opera.
The basic principles of physics (mechanics, wave motion, and sound) that influence the design and performance characteristics of musical instruments will be studied. The major groups of modern orchestral and keyboard instruments will be discussed, and the physics of hearing, singing, harmony, tuning temperaments, and room acoustics will be included. Group projects will be required.
The German city of Berlin has long been a city of fascination and transformation. During the short years between WWI and the Nazi takeover, it was the center of a cultural efflorescence that has rarely been matched since, including the music of Kurt Weill, the art of Dada and Neue Sachlichkeit, and the designs of the Bauhaus, among others. This course will examine the culture of Weimar Berlin and situate it within the turbulent social life and politics of those years. Required course for the From Berlin to Broadway: The Music of Kurt Weill StudiOC Learning Community.
Oberlin Bloggers on Music
Lanie Lee Cheatham ’24
Thoughts and an interview from college students immersed in music at Oberlin.
Megan McLaughlin ’22
An interview with my friend Emily, a musical studies major.
Ben Smith ’24
Acclimating to what was once normal.
Music All Around Us
You might already know about the incredible number of concerts on campus: faculty performances, student recitals, ensemble concerts, and visiting artists like opera superstar Joyce DiDonato, jazz legend Terence Blanchard, and Grammy-winning Apollo’s Fire. But did you know that the Office of Student Involvement and other groups also bring performers to campus?
Recent performers include Lizzo, Maxo Kream & UNiiQU3, Snail Mail, Haley Heynderickx, Ari Lennox, Madison McFerrin, Mwenso & the Shakes, and Lucki.
Gear and Spaces
Before you start rehearsing for Battle of the Bands at the ’Sco, you should check out the Gear Co-op in Wilder 404. This student-run organization aims to provide the space, equipment, and educational resources needed to allow anyone to practice, perform, and record whatever they please.
If all you really need is a quiet space with good acoustics and perhaps a Steinway piano, any Oberlin student can use the practice rooms in the Conservatory – you don't need permission or a key.
Collaboration plays a fundamental role in the community’s constant appetite for great art. This inclusivity is indicative of the communal Oberlin personality that makes it such an incredible place.
Charles Abbott ’14, on Oberlin’s inclusive music scene
After Oberlin: Alumni in Music
As with most fields, Oberlin alumni—from both the college and the conservatory—have done great things in the music business. Performers such as Josh Ritter, Liz Phair, Rhiannon Giddens, Karen O, Chris Eldridge, Beach House, and Deerhoof once called Oberlin home.
What's more, many of them like to come back and perform.