2018-2019 University Catalog > Courses > MUS - Music > 300
Required of all junior-level music majors enrolled in private applied music instruction or composition. Students perform or critique performance or composition of colleagues during one recital-seminar each week. Recital schedule rotated: one-week studio, the next week area, and following week school recitals.
Fundamentals of instrumentation, covering the various timbral and technical characteristics of the instruments within the string, woodwind, brass, and percussion families. Students will be expected to understand how each instrument works and demonstrate their knowledge through quizzes and transcription projects.
Fundamentals of orchestration, covering the techniques of combining instrumental colors in small and large ensembles. Additional instruments that were not covered in MUS 301 will be studied, as well. Students will be expected to understand the combinative concepts and demonstrate their knowledge through transcription projects.
Weekly half-hour private applied instruction for music majors in Bachelor of Arts and Bachelor of Music in MusicComposition degree programs. Students should see MUS 325-326 for further information about the requirements of specific studios.
The course will entail study of western musical notation rules and traditions, engraving techniques, and digital note setting using digital notation software. The course will emphasize a practical approach to both the final product and to the process.
The course will concentrate on a specific compositional challenge for the composer by exploring solutions from the repertoire, experimenting in workshops, and composing a culminating project.
This course will explore the techniques inherent in major works and styles that have influenced the trends in concert music today.
The study of stage movement and acting as it relates to opera performance. Projects will include study and performance of monologues, arias, and ensembles. This course will build on the skills learned in Opera Seminar I.
This course will analyze a range of major works of the 20th and 21st centuries.
Weekly one-half hour private instruction on an instrument other than a student's principal applied instrument, and for which the student has already had the appropriate secondary applied group instruction in a playing class.
More advanced class for non-keyboard major with emphasis on technique development, sight reading, ensemble playing and repertoire such as Bach, Two-Part Invention; Chopin, Prelude in B minor, and Sonatinas by Clementi, Kuhlau.
More advanced class with emphasis on performance of solo piano literature, accompaniment of vocal and instrumental solos and choral accompaniments.
This course is a continuation of Free Improvisation I, MUS 119 for select students, who will be chosen by audition, during their participation in Free Improvisation I. While the orientation of the subject is similar to the free style of Improvisation I, this class will spend more time with structures, forms and tonality, as well as atonality, electronica, performance art, etc., allowing time to be spent creating original works, being exposed to world music, and exploring innovative improvisatory techniques. The class is designed to be less about the process of improvisation and more about its performance. Students will explore alternative performance venues, and spend time improvising in front of audiences
The course will explore the entrepreneurial components of a career in music. The creation of a digital and written portfolio will complement the development of knowledge in areas of networking, marketing, public speaking, and time management.
The course will explore the legal and financial components of building an entrepreneurial career in music.
Bassoon, Cello, Clarinet, Classical Guitar, Double Bass, Euphonium, Flute, French Horn, Harp, Oboe, Percussion, Piano, Saxophone, Trombone, Trumpet, Tuba, Viola, Violin, Voice.
Weekly hour private applied instruction for music majors in the Bachelor of Music in Music Composition program.
Weekly hour private applied instruction for music majors in the Bachelor of Music in MusicComposition program.
Develop proficiency in manual and aural skills with special emphasis on rehearsal techniques. Studies and practices aimed toward improved clarity and musicality of basic conducting technique. Practical exploration of rehearsal techniques with an emphasis on efficiency of solving problems of balance, ensemble, intonation and phrasing.
Non-technical introduction to ethnomusicology. Survey of musical styles from around the world emphasizing how music reflects and influences society.
Survey of the Concert Music of Latin America from colonial times to the present. Special emphasis will be placed on the unique culture of this region and its relationship to the compositional characteristics of its music. Students will become familiar with the geography, history, and distinctive elements which make up the major regions (Rio de la Plata, Caribbean, Andean, etc.). Although there are no prerequisites, a reading knowledge of Spanish would be desirable.
Continuation of the study of vocal techniques. Possible inclusion of the French repertoire. Continuation of the study of literature of the Broadway stage, opera and oratorio.
Introduction to piano pedagogy. Survey of learning theories and varied approaches to teaching the beginning piano student, evaluation of beginning piano methods, use of technology in the studio, improvisation, technical development in the beginner, and the business of teaching. Practice teaching and observations.
Introduction to the intermediate repertoire available to the piano student, with specific study of assigned literature; pedagogical approaches to adult students and group piano study; teaching piano technique and musicianship to the intermediate to advanced piano student. Practice teaching and observations.
Introduction to the objective study of the art of singing. Students will develop a working knowledge of the anatomy and physiology of the vocal mechanism as it relates to posture, respiration, phonation, resonance and articulation in singing. Findings from other sciences are applied to problems of vocal development, voice disorders and vocal hygiene. Students are expected to develop a knowledge base in these areas sufficient to demonstrate competence in working with voices of all ages in a voice studio setting.
Bassoon, Cello, Clarinet, Classical Guitar, Double Bass, Euphomium, Flute, French Horn, Harp, Oboe, Percussion, Piano, Saxophone, Trombone, Trumpet, Tuba, Viola, Violin, Voice.
Student performs Junior Performance Recital while enrolled. Enrollment is concurrent with Performance Major lessons, either MUS 345 or MUS 346.
Students act as voice instructors for approximately 15 contact hours per semester teaching studio voice lessons. One two-hour weekly seminar concentrates on methods of building voices, assessing and assigning vocal literature, building recital programs, choice and use of exercises and vocalizes.
A course to permit music history instructors to initiate special studies in specialized subjects.
An opportunity for a student to pursue a limited study under supervision. The study will usually result in a research-based term paper.
A analytical study of musical styles, periods, genera, and forms, with rotating focuses, including: sonata forms; the symphony; music since 1945; Impressionism; the Second Viennese School; late Romanticism; and the analysis of song
Music Performance majors in orchestral instruments tutoring secondary or non-major applied music classes under supervision of applied studio faculty.
Interdisciplinary course begins with a section on arts and governments of former times, and in socialist countries, to provide an historical context for systems current in the U.S. and Canada. Then the arts-funding institutions of the U.S. and Canada will be studied. The actual interactions of U.S. and Canadian governments and artists will be compared.
A performance lab and study of various theoretical foundations of improvised jazz. Mainstream style is emphasized.
A study of ear training, jazz harmony, intervals, chord symbols, voicings, melody, harmonization, chord extensions and substitutions in various jazz styles. Specific hands on application to your instrument/voice is included in the curriculum. Prerequisites can be waived by permission of instructor.
This course will build upon the concepts and skills from Arts Leadership and help the student explore the entrepreneurial career options in an ever-changing landscape in the arts. The class will be comprised of lectures, discussion, guests, readings, written projects and group projects. Emphasis will be on considering current, successful models as the students imagine what might be appropriate to their own skills and interests.
This course will build upon the concepts and skills from Arts Leadership and Entrepreneurship I. From brainstorming and identification of a niche, to planning, grant-writing, and networking students will develop a set of skills leading up to the creation of an arts venture plan. The class will be comprised of lectures, discussion, guests, readings, written projects and group projects. Students will develop their knowledge and skills, culminating in the creation of a complete arts venture plan, to be carried out during the capstone course.
A course designed for music majors, dance majors, and musical theatre majors that emphasizes experiential learning or rhythmic and pitch phenomena through full-body movement, improvisation, and musical visualization (making music "visual" through three-dimensional movement.) Sophomore standing required.
Introduction to common repair problems, preventative maintenance, adjustments necessary to maintain good playing condition, and emergency repairs on the woodwind instruments. Replacement of pads, springs, corks and felts.
Study of music areas supplementing but not replacing regular courses. Topics, credit hours, and instructor determined by school.
A comprehensive exploration of the various facets of the music business including careers in music, music publishing (copyrights, licensing, music books, exploitation of catalogue), the record business (recording, artist management, licensing, record distribution), tour management, self-employment business basics and ethics in the music business.
The music business engages musicians with detailed contracts that establish terms of management, marketing, producing, licensing, recording, distribution, and the like. The student will learn about standard language and the principles of contract negotiations.
Business and marketing skills for the professional performing musician and private studio teacher. Career and financial planning, accounting and record-keeping, taxes and insurance, contracts and booking, promotion and marketing, etc. Junior standing in Music or permission of instructor required.
The course is designed to help students develop the skills necessary to be successful guitar teachers. The focus will be on classical guitar methods and literature. Topics include early childhood education, guitar in the classroom, and running a private music studio, technical development, and etudes.
Required of all junior-level Music majors enrolled in MUS 327-328. One recital/seminar per week, in which students perform and/or critique performances and compositions of colleagues. Recital schedule rotates from studio, to area, to school. Regular faculty and guest presentations and master classes are included.