2019-2020 University Catalog > Courses > MUS - Music > 400
Required of all senior-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.
A study of the art of counterpoint as practiced from its beginning in western musical history to the present, concentrating on analysis of important examples and some compositional exercises based thereon.
Fundamental techniques of composing and arranging for a cappella and accompanied choral groups. Deals primarily with choral ensembles, their specific characteristics and limitations, including ranges, voice combinations, and suitable material. Includes consideration of use of special choral devices and treatments.
Weekly half-hour private applied instruction for Music majors in Bachelor of Arts in Applied Music degree program. See MUS 425-426 for further information about the requirements of specific studios.
Survey of various influences (political, social, musical, etc.) upon the development of the Wind Band and its repertoire. Extensive listening, analysis and discussion with individual projects including bibliography and discography development.
For majors and non-majors. A survey of guitar history from the years 1487 to the present. Primary attention will be devoted to guitar composers/performers and their musical works examined in historical, aesthetic and social contexts. These include: musical form and genre; compositional practices and procedures; aspects of the composer's biography and/or historical events that shaped his or her attitudes; general intellectual trends that helped to shape musical practices; and the original venues and circumstances in which the musical works were created and heard.
A survey of representative composers and associated poets from their origins to the present in the English, French, and German language art song traditions. Discussions will include divergent approaches to style and text setting, historical development of the genre and associated musical characteristics. Music studied through scores, recordings and student performances.
A study of selected American vocal literature in its literary and musical context to acquaint singers and pianists with authors and their background from the viewpoint of intellectual history and literary movements.
A study of selected 19th and 20th century French vocal literature in its literary and musical context, to acquaint singers and pianists with composers and poets from the viewpoint of intellectual history and literary movements.
A study of selected German vocal literature in its literary and musical context to acquaint singers and pianists with authors and their background from the viewpoint of intellectual history and literary movements.
Introductory course in functional piano for keyboard majors. Technical study of modal scales, harmonization using primary and secondary chords, secondary dominant chords, and seventh chords in folk, pop and beginning jazz style, transposition, part-reading, ensemble playing, playing by ear, sight reading, improvisation, transposing instrument parts and reading clefs.
Continuation of development of functional piano skills of harmonization, part-reading, transposition, sight reading, and improvisation; playing and improvising rags, and writing or arranging a piano duet. Piano standards barrier exam at end of course.
More advanced course in functional piano with emphasis on harmonization in pop and jazz style. Continued work on transposition, sight reading, playing by ear and part-reading. Music Education majors take the piano proficiency barrier at conclusion of course.
Emphasis on harmonization of lead sheets with jazz voicings, chord substitution, creative harmonization, tri-tone substitution; improvisation of 12 bar blues and boogie.
Survey of representative piano literature for performance and teaching. Analysis of principal works of Bach, Haydn, Mozart, Beethoven, Chopin, Brahms, Schumann, Liszt, and the impressionistic and modern composers. Emphasis on structural and stylistic considerations.
Continuation of the survey of representative piano literature begun in Piano Literature I, with analysis of the works of principal composers from the romantic through Modern periods. Emphasis on structural and stylistic considerations.
Technical study of opera emphasizing its musical and dramatic development, relating it to social, cultural, and intellectual forces influencing it.
Preparation for senior recital. 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.
This course involves an in-depth study of vocal tract acoustics (acoustic phonetics) and resonance strategies utilized by singers trained in the western classical tradition as well as non-classical (i.e. Broadway, or CCM - Contemporary Commercial Music).
Investigation of aesthetic and philosophical concepts of Romanticism in art, literature, and philosophy; search for those conceptual characteristics in history of musical style.
Preparation of the B.F.A. in Musical Theatre recital which includes dance technique, acting technique and the culmination of the three previous years of vocal study.
This course is an introduction to the many technical and creative procedures involved when scoring for video games
This course is an introduction to the many technical and creative procedures involved when scoring for film and video.
Continuation of free composition with detailed study of 20th century compositional techniques.
Basic compositional and technical skills necessary for realization of electronic music. Emphasis on proper recording, editing, mixing, and synthesis techniques as they relate to the composer. Analog synthesis is stressed. An introduction to digital synthesis (MIDI, FM, computer-assisted composition) also included. Brief historical survey of medium presented.
Electronic music composed and realized using a variety of computer-related techniques. Covers digital recording and synthesis using MIDI and other digital audio hardware/software. Emphasis on MIDI and audio sequencing. Related topics include electronic orchestration, computer assisted software and algorithms, and literature.
This course is an introduction to the many technical and creative procedures involved when orchestrating within the digital medium.
This course is an introduction to the many technical and creative procedures involved when creating sound design for film, video, and theatre.
Student performs Senior Performance Recital while enrolled. Enrollment is concurrent with Performance Major lessons, either MUS 445 or MUS 446.
Directed Studies in music. Designed exclusively for Childhood Education majors with a concentration in music. Includes voice proficiency, vocal instruction, observation of elementary music classrooms, and conducting.
Detailed study of styles, trends, and developments in music, 17th and 18th centuries through preclassic era. Music studied through scores, recordings, and performance. Review of important historical and theoretical developments.
Study of styles, trends, and developments in music in Classical period (ca. 1740-1820). Study of music of Haydn, Mozart, and other composers included. Music studied through scores, recordings, and performance. Historical and theoretical developments.
Music composers, and theorists of 19th and 20th centuries, from after Beethoven through impressionists. Emphasis on developments in the music through study of scores and performance. Parallels between musical romanticism and romanticism in other arts.
Detailed historical study of 20th century composers, musical trends, and developments. Variety of contemporary styles, experimentation, and performance practice in recent music emphasized. Recorded examples.
The seminar examines the ways in which contemporary popular music both reflects and influences contemporary society. A brief history of American popular music and its styles will be followed by discussions based on topics such as cover tunes, music videos, cross-over artists, and the music business. Junior standing required.
For upper-level non-music majors. Course deals with understanding of the purposes of the Cult of Elizabeth in Renaissance England and to assess its effect on music and other arts of the age. With the Elizabethan patronage model as a foundation for understanding the relationships between governments and the arts, the present system of support for the arts will be assessed, debated and critiqued.
Maximum of 6 credit hours of independent study in music or music education exclusive of applied music. Projects selected from subject areas not available in regularly scheduled course offerings. Well in advance of registration for either regular or summer session, student must complete independent study request form (in triplicate) available in the School of Music office.
Maximum of 6 credut hours of independent study in music or music education exclusive of applied music. Projects selected from subject areas not available in regularly scheduled course offerings. Well in advance of registration for either regular or summer session, student must complete independent study request form (in triplicate) available in School of Music office.
The course provides credit for professional experiences in the music business for music business majors. Enrollment is to be arranged with an appropriate instructor.
Usually summer or other short-term workshops/institutes dealing with specific music literature, topics, problems, or teaching approaches and techniques.
Course designed for students with a strong interest and background in composition, multimedia, audio and MIDI. A project-oriented course which focuses on audio design, analysis, and integration as it applies to multimedia authoring, motion video, and web content creation.
Explores the changing historical views of the process of musical interpretation in performance and a develops a useful language to discuss the interpretive choices made by performers. We will discuss the aesthetic issues surrounding the notions of "the work" and "the interpretation" while comparing recorded performances from across the 20th century. Guest lecturers from among our studio faculty and ensemble directors will discuss their own specialty from the perspective of interpretation.
A course designed for musicians and music educators focusing on the preparation and integration of various elements (text, graphics, video, music) with the goal of producing interactive or self-running computer-based presentations. Related topics include; design and content issues, music and authoring software, media preparation and creation, and final delivery.
An original composition representing the most mature work of the apprentice composer. Students will also supply a complete written analysis of the final composition. The scope and content of all final projects are subject to the approval of the area head.
Building upon the skills and ideas developed through a non-performance track of the Bachelor of Arts in Music, students will implement an arts venture and/or research project as approved and guided by faculty. The project will be linked to the professional goals of the curriculum and the career interests of the student.
Required of all senior-level music majors enrolled in MUS 427-428. 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.