500

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.