200

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.