MUS - Music

The study and performance of ensemble repertoire for the clarinet family.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

A select jazz chamber ensemble for vocalists and instrumentalists. Open to any student who can qualify by audition.

An intensive study of jazz small group performance practice, improvisation, and repertoire. Open to any student who can qualify by audition.

The Fredonia New Jazz Ensemble provides the Fredonia student with a specially curated big band experience. Selected repertoire includes contemporary jazz ensemble music from around the world. Seating is determined by audition.

The Fredonia Jazz Orchestra provides the Fredonia student with a diverse and comprehensive big band experience. Selected repertoire includes classic and contemporary pieces to excite and challenge the aspiring big band musician. Seating is determined by audition.

Required of all freshman 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; next week, area; following, school recitals.

For students with little or no background in music. Course deals with beginning and rudimentary aspects of music including clefs, scales, chords, key signatures, melody, harmony, ear training, and aural perception.

For students with little or no background in music. Course deals with beginning and rudimentary aspects of music including clefs, scales, chords, key signatures, melody, harmony, ear training, and aural perception.

A one semester beginning piano class for non-majors.

Group instruction in voice, keyboard, and orchestral instruments for students not majoring in music. Previous experience in performance medium required. Enables student to enhance performance ability in performance area. May involve rental of instrument. Course may be repeated for credit.

Weekly half-hour private applied instruction for music majors in Bachelor of Arts and Bachelor of Science degree programs. Students should see MUS 125-126 for further information about the requirements of specific studios.

Weekly half-hour private applied instruction for music majors in Bachelor of Arts and Bachelor of Science degree programs. Students should see MUS 125-126 for further information about the requirements of specific studios.

(Required for all freshman oboe and bassoon majors.) The beginning fundamentals of reed making are covered including formation of blank and rudimentary scraping skills.

(Required for all freshman oboe and bassoon majors.) A continuation of Class I. The course covers shaping, gouging and refinement of scraping skills.

Introductory course for beginners on the harp. Hand position, finger exercises, and tone production.

Continuing development of tone and technique: elementary harp repertoire.

A course for students who do not successfully complete the rudiments proficiency exam required for entrance into MUS 123. Covers the fundamentals of scales, key signatures, intervals, triads, and rhythm.

One-semester course in basic vocal skills. Primary objective is to develop vocal technique for demonstration as instrumental or vocal conductor, and for choral participation.

Introduction to music in Western civilization: materials of music (melody, harmony, rhythm, tempo, dynamics, musical structure and design, and musical style); various performance media. Major composers of each musical epoch discussed, musical examples listened to in class. Covers 19th century Romanticism; 18th century classicism; medieval, renaissance, and baroque music; the 20th century, and the American scene.

For students with little or no piano background. Development of beginning technique through major and minor scales and arpeggios, chord study, harmonization, transposition, sight reading, pedal usage, and improvisation.

For students with previous piano background or MUS 117. Development of technique through major and minor scales and arpeggios, chord study, harmonization, transposition, sight reading, pedal usage, improvisation, and repertoire. Barrier exam at end of course.

The course is an exploration of the art of music improvisation for self-expression. It is taught in a supportive, safe environment of non-judgment, in order to give students the freedom needed to create music spontaneously. The voice is considered the primary instrument. Drums, and other World Music instruments will be provided. Other instruments primary, secondary, or otherwise, may be used in the class.

Attendance at a minimum of eight approved concerts (including faculty solo and ensemble recitals, Western New York Chamber Orchestra, visiting artists, and major student ensembles) each semester.

Course deals with various aspects of ear training including melodic, harmonic, and formal perception as well as sightsinging skills.

A continuation of MUS 121 dealing with various aspects of ear training including melodic, harmonic, and formal perceptions as well as sightsinging skills.

Course deals with elements of counterpoint, harmony, rhythm, and phrase analysis. Prerequisite: Satisfactory completion of Rudiments Exam.

A continuation of MUS 122 dealing with more advanced aspects of harmony, melody, form, and style analysis.

Weekly hour private applied instruction for music majors in Bachelor of Music in Performance and Bachelor of Music in Music Education degree programs.

Weekly hour private applied instruction for music majors in Bachelor of Music in Performance and Bachelor of Music in Music Education degree programs.

Weekly hour private applied instruction for music majors in the Bachelor of Music Composition program.

Weekly hour private applied instruction for music majors in the Bachelor of Music Composition program.

Introduction to composition, covering the various concepts inherent in composition, with an emphasis on creativity and performance. Students will be expected to begin to understand their own creative process and demonstrate their knowledge through composition projects.

Introduction to composition, covering the various concepts inherent in composition, with an emphasis on creativity and performance. Students will be expected to begin to understand their own creative process and demonstrate their knowledge through composition projects.

Study of solfege and conducting as basic tools of musicianship.

Study of solfege and conducting as basic tools of musicianship.

One 7-week course in a two-semester sequence intended to give singers an understanding of the International Phonetic Alphabet (IPA) and a thorough application of IPA symbols to the sounds of English diction. The course is designed for voice students in all music curricula, and may be taken by students from other majors as well.

One 7-week course in a two-semester sequence intended to give singers an understanding of the International Phonetic Alphabet (IPA) and a thorough application of IPA symbols to the sounds of Italian diction. The course is designed for voice students in all music curricula, and may be taken by students from other majors as well.

One 7-week course in a two-semester sequence intended to give singers an understanding of the International Phonetic Alphabet (IPA) and a thorough application of IPA symbols to the sounds of German diction. The course is designed for voice students in all music curricula, and may be taken by students from other majors as well.

One 7-week course in a two-semester sequence intended to give singers an understanding of the International Phonetic Alphabet (IPA) and a thorough application of IPA symbols to the sounds of French diction. The course is designed for voice students in all music curricula, and may be taken by students from other majors as well.

Required of all first-year music majors enrolled in MUS 127-128. 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.

Required of all first-year music majors enrolled in MUS 127-128. 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.

Required of all sophomore music majors enrolled in private applied music instruction or composition. Students perform or critique the performance or composition of colleagues during one recital-seminar each week. Recital schedule rotated: one week, studio; the next week, area.

Introduction to skills of the collaborative pianist, including how to approach orchestral reductions, requirements of different instruments and voice types, rehearsal techniques, how to prepare works with text, and internet/library resources for this repertoire. Each student will accompany three undergraduate music majors (ideally two singers and one instrumentalist) who will each attend our class at least once per semester for a performance and coaching. Students will rehearse regularly with these partners and attend their lessons weekly or as needed.

Introduction to the repertoire of the collaborative pianist. Course will include a brief introductory survey of song and sonata repertoire. Additionally, each student will continue to accompany three undergraduate music majors (ideally two singers and one instrumentalist) who will each attend our class at least once per semester for a performance and coaching. These class performances will build on the foundation created in Collaborative Piano Skills and Repertoire I. Students will rehearse regularly with these partners and attend their lessons weekly or as needed.

Weekly half-hour private applied instruction for music majors in Bachelor of Arts, Bachelor of Science and Bachelor of Music in Music Composition degree programs. Students should see MUS 225-226 for further information about the requirements of specific studios.

Weekly half-hour private applied instruction for music majors in Bachelor of Arts, Bachelor of Science and Bachelor of Music in Music Composition degree programs. Students should see MUS 225-226 for further information about the requirements of specific studios.

Advanced training in technique: scales, arpeggios, harmonies, pedal studies, chords, octaves, glissandi, and finger exercises in velocity.

The study of stage movement and acting as it relates to opera performance. Projects will include study and performance of monologues, arias, and ensembles.

Intermediate course in functional piano playing of major, minor, modal scales, arpeggios, harmonization using primary and secondary chords, seventh chords, and secondary dominants; transposition, improvisation, sight reading, and repertoire.

Continuation of development of functional piano skills through technique studies, harmonization, part-reading, transposition, improvisation and accompanying. Piano Standards barrier exam at end of course.

A continuation of MUS 123 dealing with more advanced aspects of ear training including melodic, harmonic, and formal perception as well as sightsinging skills.

A continuation of MUS 221 dealing with the more advanced aspects of ear training including melodic, harmonic, and formal perception as well as sightsinging skills.

A continuation of MUS 124 dealing with more advanced aspects of harmony, form, and style analysis.

A continuation of MUS 223 dealing with advanced harmony, form, and style analysis.

Bassoon, Cello, Clarinet, Classical Guitar, Double Bass, Euphonium, Flute, French Horn, Harp, Oboe, Percussion, Piano, Saxophone, Trombone, Trumpet, Tuba, Viola, Violin, Voice.

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 Music Composition program.

Basic conducting technique with special emphasis on score reading and improved aural skills, rehearsal planning and efficient use of time, conducting leadership style, and ability to communicate effectively with an ensemble.

Continuation of skills developed in MUS 231. Special emphasis on interpretation within defensible parameters, aural refinements in overcoming difficulties, diction (chorus)/articulation (instrumental), balance, and blend.

Non-technical introduction to ethnomusicology. Survey of musical styles from around the world emphasizing how music reflects and influences society.

This course examines the interrelationship between people social crisis and musical practice. The course applies interdisciplinary methods to explore how music responds to the most prevailing social issues taking place in the world around usâ€"issues such as the needs of subdominant groups, the AIDS pandemic, democracy and social justice, and cultural liberty. This course encourages diverse perspectives related to other disciplines, such as cultural studies, women studies, history, and medical anthropology.

Continuation of fundamentals of vocal technique. Emphasis upon German literature and literature from the Broadway stage. Continued study of contemporary vocal literature as well as introduction to operatic and oratorio repertoire.

Continuation of fundamentals of vocal technique. Emphasis upon German literature and literature from the Broadway stage. Continued study of contemporary vocal literature as well as introduction to operatic and oratorio repertoire.

Bassoon, Cello, Clarinet, Classical Guitar, Double Bass, Euphonium, Flute, French Horn, Harp, Oboe, Percussion, Piano, Saxophone, Trombone, Trumpet, Tuba, Viola, Violin, Voice.

Bassoon, Cello, Clarinet, Classical Guitar, Double Bass, Euphonium, Flute, French Horn, Harp, Oboe, Percussion, Piano, Saxophone, Trombone, Trumpet, Tuba, Viola, Violin, Voice.

Survey of U.S. music, colonial times to present. Such American developments studied as music of first New England School, vernacular and black music of 19th century, jazz, and mixed media music of 20th century. American music which parallels and absorbs European developments and distinctly American contributions to Western music, such as music of Ives, Gershwin, and Copland included.

Survey of Western art music from the medieval era to the classical period, focusing on primary composers and their works, and major style periods. Through readings and listening assignments the course will construct a basic historical narrative of music as an evolving art form and as an integral part of society.

Survey of Western art music from the classical period to today, focusing on primary composers and their works, and major style periods. Through readings and listening assignments the course will construct a basic historical narrative of music as an evolving art form and as an integral part of society.

For majors and non-majors. History of jazz, early African American origins through 1970s. Survey of principal movements and personalities in jazz and sociological and cultural influences on these movements.

A chronological history of African American music from its African roots through American forms of work songs, cries, hollers, spirituals, blues, ragtime, jazz, rhythm and blues, rock and roll, soul, gospel, rap, and music written by 20th century Black composers.

Development of method and vocabulary for critiquing musical works and performances. Extensive in-class listening and discussion. Reading assignments survey the history of music criticism and compare reviews of various musical genres and the other arts. Writing assignments include reviews of concerts and recordings. Non-music majors should have taken a college-level music course or have significant experience in music activities.

A non-technical survey of the 20th century American popular music genres, beginning with ragtime and ending at the time of the emergence of the new British rock. Among the subjects covered will be vaudeville, blues, country music, the Big Band era, Broadway and Hollywood, pop vocalists, rhythm and blues, early rock 'n' roll, and ethnic and regional popular music. Classes will consist of listening and discussion. Written assignments will be based on required and supplemental listening and recommended readings.

This course is an overview of the issues in the arts, especially as perceived and confronted by the artist, artist manager and educator. The course will explore the relationship between artist and various constituencies that have the potential of form audiences, supporters, advocates and communities. Students will learn about the not-for-profit model, and how to engage business, government, and other sectors as partners. The class is a mixture of lecture, seminar, workshop and guest lectures.

Much of the critical discourse about music centers on separating the “great” from the average. This is a course about greatness in music. In it we will discuss the mythologies and commonly perceived criteria that define cultural importance or technical greatness in music. We will look for common rhetoric across many different genres and will deal with popular images of music in film and criticism, the technical parameters of “great” music, and the interpretation of music.

An exploration of copyright purpose, history, use and challenges. Students will learn about copyright ownership and registration, and how copyright is used to manage royalties, publication, project development, and dissemination of the intellectual property through the various media, including the Internet.

Required of all sophomore-level music majors enrolled in MUS 227-228. 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.

Required of all sophomore-level Music majors enrolled in MUS 227-228. 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.

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.

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.

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.

This course will explore the techniques inherent in major works and styles that have influenced the trends in concert music today.

This course will analyze a range of major works of the 20th and 21st centuries.

Bassoon, Cello, Clarinet, Classical Guitar, Double Bass, Euphonium, Flute, French Horn, Harp, Oboe, Percussion, Piano, Saxophone, Trombone, Trumpet, Tuba, Viola, Violin, Voice.

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.

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.

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, Euphonium, Flute, French Horn, Harp, Oboe, Percussion, Piano, Saxophone, Trombone, Trumpet, Tuba, Viola, Violin, Voice.

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.

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.

Study of music areas supplementing but not replacing regular courses. Topics, credit hours, and instructor determined by school.

Study of music areas supplementing but not replacing regular courses. Topics, credit hours, and instructor determined by school.

Study of music areas supplementing but not replacing regular courses. Topics, credit hours, and instructor determined by school.

Study of music areas supplementing but not replacing regular courses. Topics, credit hours, and instructor determined by school.

Study of music areas supplementing but not replacing regular courses. Topics, credit hours, and instructor determined by school.

Study of music areas supplementing but not replacing regular courses. Topics, credit hours, and instructor determined by school.

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.

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.

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.

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.

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.

Weeklyhour 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 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.

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.

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.

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.

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.

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.

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.

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.

Instrumental or vocal performance group for graduate students. All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music.

Instrumental or vocal performance group for graduate students. All music students participate in the university music ensembles, the required number of participations varying among the several music curricula. Participation in any ensemble is open to students in other departments of the university by audition and consent of the conductor and/or Director of the School of Music

Analytical and compositional study of stylistic developments since 1850 which extend, expand, depart from or negate "common-practice" harmony and tonality. Major composers studied. Emphasis on gaining understanding of their harmonic styles via analysis and compositional imitation by student. Individual projects required.

Study of linear aspects of music via combining melodies into various textures. Special emphasis on revival of contrapuntal techniques in 20th century by such composers as Busoni, Hindemith, Bartok, Schoenberg, Webern, and their successors; these techniques and styles used in direct composition.

A review of the principles and practices of music theory/composition, centering on the "common practice" period but not confined to it, and geared to the individual needs of participating students, whose prior involvement with theory may not be recent or extensive. Syllabi for particular areas of study, relevant texts, scores and recordings in library, assignments leading to final paper.

A review of the basic framework of Western musical history, centered on a core repertory but not restricted by it, with class listening and discussion; individual projects required of students, utilizing standard research procedures and reference materials, including scores and recordings; optionally also class lecture and/or performance by students.

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.

Performance seminar for students in the Collaborative Piano Masters Program. Students will perform with their collaborative partners (instrumentalists and singers), receive critique from both faculty and peers, and discuss performance related issues.

Survey of representative piano literature for performance and teaching. Analysis of principal works of Bach, Haydn, Mozart, Beethoven, Chopen, Brahms, Schumann, Liszt, and the impressionistic and modern composers. Emphasis on structural and stylistic considerations.

An exploration of the resources and techniques needed for graduate studies in all areas of music. Students will learn to examine and critically evaluate music resources in both traditional and electronic forms, and will develop research strategies that can be adapted to many different areas of study. Through a variety of projects and in-class presentations, students will become better equipped to undertake graduate level music research, and to ultimately present that research with proper bibliographic style according to established scholarly conventions.

Students will study a survey of representative songs from their origins to the present in the Italian, French, German, British, and American art song traditions. Discussions will include divergent approaches to style and text settings, historical development of the genre, poetry, and associated musical characteristics. Music is studied through scores, recordings and performances. Students will be coached in the performance practice of the literature.

Collaborative Pianists will study representative chamber instrumental literature from the Baroque, Classical, Romantic, Impressionistic, and 20th century periods. An overview of standard literature for duos with all instruments, piano, trios, and larger ensembles (quartets, quintets, and sextets) will be presented. Collaborative Pianists will also play in chamber ensembles and perform duos in class.

Collaborative pianists will learn basic skills for working as a rehearsal pianist with a conductor and stage director, how to prepare an orchestral reduction of an opera score, and how to assist singers in the preparation of operatic roles. Collaborative pianists will prepare arias, recitatives, and ensemble pieces, and will be expected to sing vocal lines while playing the orchestral accompaniment as well as accompany guest singers in the class. Topics discussed will include elements of style, traditions of vocal ornamentation, and lyric diction.

Detailed study of styles, trends, and developments in music in 15th and 16th centuries. Survey of 14th century, Ars Nova period also included. Philosophical and theoretical ideas of period studied as well as the actual music. Performance of Renaissance music stressed.

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 19yh 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.

Survey of music since 1950. Emphasis upon main stylistic trends, avant-garde music, electronic music, multi-media, and new younger composers. Musical analysis and composition required of students.

Usually summer or other short-term workshops dealing with specific topics, techniques or problems in music theory, analysis, history or literature. Maximum of 6 credit hours in increments of no more than 3 credit hours may apply with permission to requirements in categories of theory, history and literature, or electives.

Presentation and investigation of a specific but not regularly scheduled topic of current need or interest, including choral conducting and analysis of choral scores. Course may be repeated to a maximum of 6 credit hours (in different topics) and may apply with permission to requirements in categories of theory, history and literature, or electives.

Advanced choral conducting techniques and analysis of choral scores. Students will conduct in class from choral repertoire that will be chosen from representative works of the important style periods in music history, including Gregorian Chant, the Middle Ages, Renaissance, Baroque, Classical, Romantic, and a variety of 20th century styles. Some class time will also be devoted to presentation and discussion of appropriate choral literature of high quality in the school curriculum.

A course focusing on the integration of music (digital audio and MIDI) into a variety of computer-based multimedia environments including Hypercard, Director, Adobe Premiere, and others. Music development tools will include many recent production and editing applications including: Digital Performer, Deck, Alchemy, and Sound Designer.

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.

The idea that music is “dramatic,” or “poetic,” is a common one. However, the language of music theory and emotional interpretation often remain remote from one another. The goal of this course is to help us develop the critical concepts and the analytical language needed to make such transitions possible. We will attempt to re-classify or rephrase music theoretical concepts in terms of their dramatic impact on listeners in real time. This will involve a good deal of musical analysis and a solid foundation is a prerequisite for the course. We will also explore linguistic and dramatic ideas of narrative time and theories about how stories are structured.

The course, which will explore the world of free improvisation, will enhance the expressive skills of performers, educators, and music therapists.

Studies not otherwise available as regular course offerings and relevant to student's program or career plans, pursued in independent, directed, or tutorial manner. Student must submit proposal for approval, format available in the School of Music office. Student must also secure agreement of faculty member to sponsor study. Maximum of 6 credit hours of any combination of MUS and MUED may be earned this way in increments of no more than 3 credit hours.

Studies not otherwise available as regular course offerings and relevant to student's program or career plans, pursued in independent, directed, or tutorial manner. Student must submit proposal for approval, format available in the School of Music office. Student must also secure agreement of faculty member to sponsor study. Maximum of 6 credit hours of any combination of MUS and MUED may be earned this way in increments of no more than 3 credit hours.

Two semesters of advanced applied instruction for candidates for Master of Music in Performance degree culminating in a public performance.

Two semesters of advanced applied instruction for candidates for Master of Music in Performance degree culminating in a public performance.

Half-hour lessons in secondary applied instruments. Permission of School of Music.

Performance seminar for students in the Collaborative Piano Masters Program. Students will perform with their collaborative partners (instrumentalists and singers), receive critique from both faculty and peers, and discuss performance related issues.

Presentation and investigation of a specific but not regularly scheduled topic of current need or interest. Course may be repeated to a maximum of 6 credit hours (in different topics) and may apply with permission to requirements in categories of theory, history and literature, or electives.

Half-hour lessons in secondary applied instruments. Permission of School of Music.

Half-hour lessons in secondary applied instruments. Permission of School of Music.

Half-hour lessons in secondary applied instruments. Permission of School of Music.

Hour lessons in major applied instruments. Permission of School of Music.

Hour lessons in major applied instruments. Permission of School of Music.

Hour lessons in major applied instruments. Permission of School of Music.

Hour lessons in major applied instruments. Permission of School of Music.

Advanced free composition for graduate study, concentrating on individual creative musical inclinations of each student. Seminar and private study of 20th century creative concepts.

Advanced free composition for graduate study, concentrating on individual creative musical inclinations of each student. Seminar and private study of tentieth century creative concepts.

Continuation of advanced composition pursuing mature, professional creative expression.

Continuation of advanced composition pursuing mature, professional creative expression.

Designed to provide the necessary background and practical instruction in the art of teaching music theory and aural skills acquisition. Students will engage in a critical evaluation of the philosophies, materials, curricula, and strategies essential to teaching music theory. The course provides pedogogical training geared toward music theory teaching of students at the K-12 and college levels and in the context of the classroom, rehearsal, and individual applied lesson.

The purpose of the course is to review and expand the knowledge of the International Phonetic Alphabet, the recognized tool for pronunciation in the world of singing, and to address the rules that govern proper articulation and pronunciation of English, Italian, German, and French in both spoken and sung forms of these languages. In addition, students will learn to transcribe written poetic texts into the International Phonetic Alphabet.

The application of analytical methods, including Schenkerian reductive analysis, to Western tonal music since the latter 17th century. Includes the study of musical forms in Western music and entails a significant prose writing component.

Students will gain the score study skills necessary to conduct top quality repertoire and establish criterion and knowledge of quality repertoires. Students will gain the skills necessary to choose, teach and conduct quality repertoire at the professional level.

Designed to enhance the skills of conductors at every level, topics include repertoire choices, rehearsal techniques, baton technique, ensemble development, and score study. Masterworks will be explored and conducted with development of musical interpretation, movement and conducting technique being the goal. Students will achieve a high level of aural, physical and emotional skill on the podium.

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.

Detailed historical study of 20th century composers, musical trends, and developments. Variety of contemporary styles, experimentation, and performance practice in recent music emphasized.

A seminar/discussion course that will prepare graduate students to teach music composition at the beginning levels. Class and private instruction observation, research and discussion with individual projects and presentations.

The course covers the fundamental concepts of Schenkerian analysis beginning with the interpretation of brief phrases and themes and eventually progressing through short binary forms and larger designs such as sonata form.

The course introduces students to a variety of post-tonal music and analytic approaches. Repertoires covered include free-atonality, twelve-tone music, integral serialism, early electronic music, aleatoric music and indeterminacy.

Advanced choral conducting techniques and analysis of choral scores. Students will conduct in class from choral repertoire which will be chosen from representative works of the important style periods in music history, including Gregorian Chant, the Middle Ages, Renaissance, Baroque, Classical, Romantic, and a variety of 20th century styles. Some class time will also be devoted to presentation and discussion of appropriate choral literature of high quality in the school curriculum. Students should have completed undergraduate fundamentals of conducting classes and all undergraduate theory courses.

Students will read and analyze, in class, a variety of choral repertoire, deemed by the instructor to be of the highest quality. Literature will be chosen from representative works of the important style periods in music history, from the Renaissance to the 20th century. Emphasis will be given to literature that is especially appropriate for junior and senior high school choral programs.

Two semesters of advanced applied instruction for candidates for Master of Music in Performance degree culminating in a public performance.

Two semesters of advanced applied instruction for candidates for Master of Music in Performance degree culminating in a public performance.

Concurrently with MUS 693 or in any subsequent semester, candidate for major in Performance presents public recital under supervision of major instructor and two other instructors from same area.

Candidate for degree in Theory-Composition engages in advanced work culminating in thesis project or composition/arrangement.