This course surveys music-making practices in the Western hemisphere. Students will consider musics of various styles, historical periods, and cultural settings, with an emphasis on critical listening. Includes experiential learning opportunities such as attending performances either on or off campus.

Development of skills in sight singing, melodic and harmonic dictation, transcription, and keyboard harmony to improve overall musicianship and comprehension of music theory and literature.

Continuation of MUS 101, including further diatonic intervals and more complicated rhythms in sight singing and melodic dictation, and all diatonic harmonies in harmonic dictation.

This course consists of an introduction to music theory through the study of scales, key signatures, intervals, triads, seventh chords, lead-sheet symbols, Roman numeral analysis, harmonic function and progression, non-chord tones, melodic analysis, form in popular music, phrases in combination, and accompanimental textures. Students create an original arrangement of an existing song.

In this second semester of music theory study, students will learn about figured bass, secondary chords, mode mixture, the Neapolitan chord, augmented sixth chords, and modulation with and without pivot chords including enharmonic modulation. Students create two original compositions.

This course surveys the rich musical heritage of the United States from the Colonial Period to the present. It explores many of the musical traditions whose collective heterogeneity defines a country of diverse musical narratives. Musical styles and genres explored include art music, concert music, popular music, musical theatre, sacred music, country, folk, jazz, and rock.

Music majors attend 10 concerts, on or off campus, and submit printed programs and reflections at the end of the semester. Required of all music majors.

For Applied Music students otherthan Performance majors. One half-hour lesson per week is required. The choice of materials is left to the discretion of the instructors in each applied music area. In the jury examination given at the end of the term, students are required to perform excerpts from the material studied. Registration forlessons is administered through the Music office.

For Applied Music students otherthan Performance majors. One half-hour lesson per week is required. The choice of materials is left to the discretion of the instructors in each applied music area. In the jury examination given at the end of the term, students are required to perform excerpts from the material studied. Registration forlessons is administered through the Music office.

Designed for students with minimal guitar background. The course deals with music notation, scales, chords, and fundamental techniques of playing the guitar.

Continuation of MUS 113. Basic repertoire is developed as well as more advanced techniques.

This course provides a practical approach to learning how to play a variety of American "acoustic roots" guitar styles, all using a flatpick and based on Celtic -based fiddle tunes. The course progresses from Celtic through Appalachian/old-timey, old country, and bluegrass styles with focus on rhythm and backup skills as much as lead playing techniques. Tunes are taught in the traditional manner: listening and repeating tune segments over and over (and over) until the song can be played by memory. The course also covers basic guitar maintenance techniques such as proper tuning, restringing, and setup, and covers some of the wide variety of steel-string guitar body styles and construction methods.

This course provides a practical, hands-on approach to learning how to play a variety of American guitar styles (using the acoustic steel-string guitar), including Delta and Piedmont 12-bar blues, "comping" behind standard swing-era songs, and finishing up with a bit of rockabilly. The techniques include 2- and 3- finger fingerpicking, Freddie Green-style 4-to-the-bar-backup, simple chord soloing, and Carl Perkins/Scotty Moore/James Burton styles. The course covers how to read and play along with a basic chord chart, as well as basic chord theory. Tunes are taught in the traditional manner: listening and repeating tune segments over and over (and over) the song can be played by memory. The course also focuses on ear training- hearing the changes in the song without using written charts or scores, in addition to covering basic guitar maintenance techniques such as proper tuning, restringing, and setup. Finally, some of the wide variety of steel-string guitar body styles and construction methods are demonstrated.

The preparation and performance of works for the musical stage.

Intended for those without prior musical training. Students discover music through physical and intellectual engagement, including performance, improvisation, composition, conducting and other movement, close listening, concertgoing, reading, writing, discussion, and collaboration. Basic note-reading skill is developed. Students should not take MUS 123 if they have taken, or are currently enrolled in, MUS 101/103.

A survey of the history of popular music from its origins through to the present, focusing on musical elements of style, principal innovators, the role of technology, and its sociology. Through extensive use of recorded works, this course develops critical listening skills, understanding, and appreciation of popular music.

This course is an introductory look at processes of music learning and music education models in American public schools. Students study the beginnings of American music education and study core concepts related to music education. Students participate in school-based placements that allow for direct experience with children developing their music skills and knowledge.

Designed for Applied Music students admitted to the Performance degree or other Applied Music students with written permission from the Director of the School of Music. One hour-long or two half-hour lessons per week required. May be repeated for credit. Registration for lessons is throughthe Music office prior to university registration.

Designed for Applied Music students admitted to the Performance degree or other Applied Music students with written permission from the Director of the School of Music. One hour-long or two half-hour lessons per week required. May be repeated for credit. Registration for lessons is throughthe Music office prior to university registration.

This course provides the basics of vocal technique for the commercial musician. Emphasis is placed on the development of solo vocal skills and technique, and the understanding of vocal physiology and health. This course centers on learning the course material through the lens of Contemporary Commercial Music (CCM) pedagogy and application. All of the information in this course is designed to teach how one may both achieve high vocal efficiency with low vocal effort to ensure vocal health and longevity. The basic methodologies studied are rooted in the anatomy and physiology of the vocal apparatus.

Music for small vocal and instrumental ensembles.

Prepares and performs music of many styles. Makes public appearances throughout the year and tours in the Pacific Northwest.

Prepares and performs varied repertoire for mixed voices. Makes public appearances throughout the year and tours in the Pacific Northwest.

Preparation and performance of works for symphony orchestra. Makes public appearances throughout the year. Tours in the Pacific Northwest.

An all-university group for mixed voices. Local performances are scheduled each semester.

Selected by audition from the Adelphian Concert Choir, Voci d'Amici is a select, vocal chamber ensemble dedicated to the performance of repertoire from all musical epochs. The ensemble is self-conducted.

An auditioned ensemble of women singing both accompanied and a capella literature and appearing in concert several times each semester.

This course familiarizes pianists with the skills required of a collaborative/ensemble pianist. Depending on the semester, music is selected from song literature, opera, choral, instrumental, and concerto accompaniments. Discussion of specific skills and techniques required for effective collaboration and accompaniment are emphasized. The course focus is primarily on skill-building and practical experience in rehearsal and performance. Students focus on sight-reading, transposition, navigating orchestral reductions, reading choral scores, and coaching of student performances.

Prepares and performs music of many jazz styles for both large bands and small combos. The jazz band plays concerts throughout the year, both on and off campus.

This course provides students the opportunity to explore through performance, arrangement, and production a variety of commercial music genres and styles. Each student has the opportunity to serve as the lead on one popular song per concert, a cover that they arrange and rehearse. Other students take on numerous roles (band member, producer, manager, PR) for a live concert in a rotating fashion. Faculty serve as coaches and guide students in their varying roles. There are up to three concerts per semester in various venues (to be arranged by the student concert producer).

An all-university ensemble for brass, woodwind, and percussion. Performs on campus each semester.

Chromatic exercises in sight singing, melodic and harmonic dictation, and keyboard harmony to improve overall musicianship and comprehension of music theory and literature.

Singing and keyboard exercises in counterpoint, jazz theory, and twentieth-century techniques. Dictation of contrapuntal examples, jazz scales and chords, and twentieth-century sonorities and pitch-sets. Harmonic dictation of all chromatic harmonies and modulations.

In this third semester of music theory, students learn to analyze binary, ternary, sonata, and rondo forms. Later in the semester, students learn about voice leading of triads, seventh chords, and all chromatic harmonies. Students compose and perform an original five-part rondo.

This course includes study of sixteenth- and eighteenth-century counterpoint through composition and analysis. Following this is an introduction to jazz theory through analysis. The semester concludes with study of twentieth-century compositional styles including Impressionism, extended tonality, set theory, serialism, and minimalism. Students compose and perform an original minimalist process piece.

This is a course designed for students who have had some prior instruction on the piano. With the piano as a medium students develop an artistic awareness of music from different cultures as well as historical periods. The course focuses on improving music reading ability, harmonizing melodies, improvisation, basic musicianship, and performance of repertoire from the advanced beginner/early intermediate level literature.

For Applied Music students other than Performance majors. One half-hour lesson per week is required. The choice of materials is left to the discretion of the instructors in each applied music area. In the jury examination given at the end of the term, students are required to perform excerpts from the material studied. Registration forlessons is administered through the Music office.

For Applied Music students other than Performance majors. One half-hour lesson per week is required. The choice of materials is left to the discretion of the instructors in each applied music area. In the jury examination given at the end of the term, students are required to perform excerpts from the material studied. Registration forlessons is administered through the Music office.

A historical survey that focuses on the principal developments and creators of the modern Broadway musical from the 1920s to the present. Through a study of representative musicals the course emphasizes the relationship between music and drama, critical, analytical, authenticity, and social issues, the creative and collaborative process, and adaptation.

A historical survey that focuses on the principal elements and styles of jazz, its trends and innovators, and its sociology. The course is designed to develop a critical awareness, understanding, and appreciation of jazz.

An introductory survey of music traditions from among world cultures, approached from an ethnomusicological perspective. "Music" in this course is considered broadly, and refers to performance and ritual traditions and their complex intersections with culture, daily life, and society. The regional focuses of the traditions studied come from various parts of the Americas, Africa, Asia, and Europe.

This course critically explores women's contributions to music in a variety of roles and cultural contexts. Figures studied include historical and contemporary popstars, composers, directors, dancers, and everyday women, who make music as part of their daily lives.

An introductory survey of music of the Classical era (1750-1825). Students explore the historical and stylistic developments of this period through the life and works of the period's three masters, Haydn, Mozart, and Beethoven.

An introductory survey of music in the Romantic era (1815-1900) beginning with the late works of Beethoven and Schubert and ending with the works of Mahler and Debussy at the turn of the twentieth century. Students explore historical and stylistic developments through the critical study of representative works from the period. Major genres, the lives of the composers, and the creative process are examined, and the importance of the artist for society is considered.

This introductory survey introduces students to twentieth-century European and North American classical music by exploring the use of major twentieth-century musical styles and individual works in movies. Students develop analytical tools to understand and communicate effectively about a wide range of compositional languages, while also considering how particular styles and compositions are put into dialogue with a film's visual, narrative, and affective content. Composers who wrote specifically for movies, such as Aaron Copland, Bernard Herrmann, and Philip Glass, are considered alongside those such as Bela Bartok and Gyorgy Ligeti, whose works were appropriated by directors.

This course explores a diverse range of musicians and musical genres through the lens of Tacoma's history. Utilizing primary source readings, listening examples, and guest lectures by local musicians and historians, the course presents a survey of the musical history of Tacoma, from the region's native peoples and early settlers to the present day. The final project engages students with primary research to share local music history stories.

Following an introduction to the meanings and purposes of music history and how it is conceived and studied, the course surveys the history of Western music and musical style from its foundations in ancient Greece through the death of Bach and Handel at the end of the Baroque era. Students explore such topics as the orgins and development of sacred and secular monophonic and polyphonic music in the Middle Ages and the continuing development of vocal and instrumental styles, genres, and forms in the Renaissance and Baroque eras. The focus of each class is on detailed historical, analytical, and critical study of representative works and the issues they raise through lectures, class discussions, readings, listening, and writing assignments. Students are expected to enter the course having already learned to read music or to be prepared to quickly master this essential skill.

A survey of music history that traces the development of Western musical styles, genres, and ideas from the late-eighteenth classical style of Haydn and Mozart, nineteenth-century Romanticism from Beethoven to Mahler, and the birth of Modernism in the late nineteenth and early twentieth centuries. Topics include the development of major instrumental and vocal genres, including the symphony, string quartet, concerto, the solo sonata and character piece for piano, the 'Lied' and song cycle, and opera. The focus of each class is on detailed historical, analytical, and critical study of representative works by major figures and the issues they raise through lectures, class discussions, readings, listening, and writing assignments.

This course explores Western art music as a humanistic study. It provides a survey of representative styles, musicians, and works from 1600 to the present, including jazz. Readings, writing assignments, and experiences both in and out of class introduce students to the diverse methods of historical musicology, including a variety of critical perspectives, and archival and secondary research. Students engage in close listening, musical analysis, and discussion. Emphasis is placed throughout the semester on the relevance, value, and pleasures of musicological knowledge and approaches.

This course will introduce students to methods and issues in the discipline of ethnomusicology, wherein music is studied among its complex intersections with daily life. The course introduces pathways for studying music ethnographically, rendering transparent how music can be explored as culture. Students will approach the study of ethnomusicology through a variety of world music case studies, and will have the opportunity to conduct their own ethnographic fieldwork.

An introduction to the symbols of the International Phonetic Alphabet and how to use those symbols in the study of languages. The course also studies and applies the basic rules of English and Italian diction for singers through oral drills and transcription of song texts.

Devoted to the study of German and French diction for singers. After introducing the sounds of each language, the class studies and applies the rules of pronunciation through oral drills and transcription of song texts.

An introduction to compositional technique through the study of text setting, 20th-century compositional techniques, and analysis of selected compositions. One half-hour lesson per week is required.

A study of compositional technique through the study of musical form (binary form, ternary form, and the dance suite), style, performing forces, 20th-century compositional techniques including twelve-tone technique, and analysis of selected compositions. One half-hour lesson per week is required.

Class instruction in playing and teaching instrumental music at a beginning level in preparation for teaching in schools. Study of beginning level methods, materials, and literature for solo and ensemble instruments are included.

Class instruction in playing and teaching instrumental music at a beginning level in preparation for teaching in schools. Study of beginning level methods, materials, and literature for solo and ensemble instruments are included.

Class instruction in playing and teaching instrumental music at a beginning level in preparation for teaching in schools. Study of beginning level methods, materials, and literature for solo and ensemble instruments are included.

Class instruction in playing and teaching instrumental music at a beginning level in preparation for teaching in schools. Study of beginning level methods, materials, and literature for solo and ensemble instruments are included.

Class instruction in playing and teaching instrumental music at a beginning level in preparation for teaching in schools. Study of beginning level methods, materials, and literature for solo and ensemble instruments are included.

Class instruction in playing and teaching instrumental music at a beginning level in preparation for teaching in schools. Study of beginning level methods, materials, and literature for solo and ensemble instruments are included.

This course provides the basics of vocal technique, diction and pedagogy for the music educator. Emphasis is placed on the development of basic vocal skills and pedagogical concepts leading to a better understanding of the voice. Specific problems often encountered by choral directors are also discussed.

The course provides a focus on accompanying skills for the music classroom on both keyboard and fretted instruments. The skills development is complimented by the study of teaching methods and laboratory experiences in class and in the school.

This is a semester-long (15 weeks) undergraduate course. The central focus of this class is the study and practice of the fundamentals of jazz. In addition to the study of jazz curriculum and instruction in K-12 public schools, this course includes a lab portion in which students will practice jazz performance skills on their main and secondary instruments, study form and score analysis, arrange beginning level jazz tunes, observe public school jazz classes, and read and discuss issues in jazz education related to diversity, equity, and inclusion in the jazz classroom. All music majors and minors who play an instrument or sing are welcome; alternate assignments will be given to non-music education majors.

This course provides students with knowledge of and hands-on practice with the basics of working in a recording studio, including acquiring knowledge of studio set up and the essentials of recording music digitally.

Designed for Applied Music students admitted to the Performance degree or other Applied Music students with written permission from the Director of the School of Music. One hour-long or two half-hour lessons per week required. May be repeated for credit. Registration for lessons is throughthe Music office prior to university registration.

Designed for Applied Music students admitted to the Performance degree or other Applied Music students with written permission from the Director of the School of Music. One hour-long or two half-hour lessons per week required. May be repeated for credit. Registration for lessons is throughthe Music office prior to university registration.

Prepares and performs music of many styles. Makes public appearances throughout the year and tours in the Pacific Northwest.

Prepares and performs varied repertoire for mixed voices. Makes public appearances throughout the year and tours in the Pacific Northwest.

Preparation and performance of works for symphony orchestra. Makes public appearances throughout the year. Tours in the Pacific Northwest.

An all-university group for mixed voices. Local performances are scheduled each semester.

Selected by audition from the Adelphian Concert Choir, Voci d'Amici is a select, vocal chamber ensemble dedicated to the performance of repertoire from all musical epochs. The ensemble is self-conducted.

An auditioned ensemble of women singing both accompanied and a capella literature and appearing in concert several times each semester.

This course familiarizes pianists with the skills required of a collaborative/ensemble pianist. Depending on the semester, music is selected from song literature, opera, choral, instrumental, and concerto accompaniments. Discussion of specific skills and techniques required for effective collaboration and accompaniment are emphasized. The course focus is primarily on skill-building and practical experience in rehearsal and performance. Students focus on sight-reading, transposition, navigating orchestral reductions, reading choral scores, and coaching of student performances.

Prepares and performs music of many jazz styles for both large bands and small combos. The jazz band plays concerts throughout the year, both on and off campus.

This course provides students the opportunity to explore through performance, arrangement, and production a variety of commercial music genres and styles. Each student has the opportunity to serve as the lead on one popular song per concert, a cover that they arrange and rehearse. Other students take on numerous roles (band member, producer, manager, PR) for a live concert in a rotating fashion. Faculty serve as coaches and guide students in their varying roles. There are up to three concerts per semester in various venues (to be arranged by the student concert producer).

An all-university ensemble for brass, woodwind, and percussion. Performs on campus each semester.

An introduction to the basic elements of instrumental conducting, including: basic conducting technique, preparatory beats, patterns, cues, fermatas, and 4-part score reading. Class time is spent in lecture, discussion, demonstration, and skill refinement. Students conduct an ensemble consisting of class members during regular videotaped conducting labs, with formal and informal evaluation given by the instructor.

An introduction to the basic elements of choral conducting, including: basic conducting technique, preparatory beats, patterns, cues, fermatas, and 4-part score reading. Class time is spent in lecture, discussion, demonstration, and skill refinement. Students conduct an ensemble consisting of class members during regular videotaped conducting labs, with formal and informal evaluation given by the instructor.

An exploration of musical language and form, with emphasis on the primary forms of the Baroque, Classical, and Romantic eras, and the melodic and harmonic language of music of the twentieth century. Topics include the Baroque dance suite, sonata form, rondo form, continuous and sectional variations, concerto, pitch-class set theory, and twelve-tone operations, with focus on detailed aural and written analysis.

Music majors attend 10 concerts, on or off campus, and submit printed programs and reflections at the end of the semester. Required of all music majors.

For Applied Music students other than Performance majors. One half-hour lesson per week is required. The choice of materials is left to the discretion of the instructors in each applied music area. In the jury examination given at the end of the term, students are required to perform excerpts from the material studied. Registration forlessons is administered through the Music office.

For Applied Music students other than Performance majors. One half-hour lesson per week is required. The choice of materials is left to the discretion of the instructors in each applied music area. In the jury examination given at the end of the term, students are required to perform excerpts from the material studied. Registration forlessons is administered through the Music office.

The preparation and performance of works for the musical stage.

An introduction to some of the music traditions that hail from South Asia, including those from India, Pakistan, Sri Lanka, Nepal, Bangladesh, Afghanistan, and their diasporas. The course covers concert and classical traditions, as well as ritual, popular, and folk musics, in which movement and theater both figure.

In this course we will study traditions of dance from among world cultures. "Dance" in this course is considered broadly, and refers to performance, ritual, and daily-life practices of movement, with inextricable connections with music, sound, and theater. The course approaches contents from the disciplines anthropology, ethnomusicology, dance studies, and performance studies, and focuses on the study of movement and dance and their complex intersections with culture, daily life, and society. The course will be presented through a variety of teaching styles and assignments, including lectures, group participation, structured media engagement, and hands-on demonstrations/performances.

A racial and political category, Asian America is a term that indicates ethnic, linguistic, and cultural heterogeneity. In this course, we will explore Asian America through its many "performances" in and through the United States. Using the discipline of performance studies as our vantage point, in which all human actions and behaviors can be considered "performances" of some kind, we will explore how Asian America is constructed, maintained, and how it evolves. Each week will feature a particular category of performance, with case studies on food ways, fashion blogging, queer nightlife, music, dance, and archives, among communities of Chinese, Japanese, Cambodian, Filipino, and Pakistani Americans, and others.

An on-site experience in a school music classroom or music business, providing the student with pre-professional opportunities to observe and participate in school music and music business programs. Term project and journal required. Applications are due into the School of Music early in the semester preceding registration.

Every opera's characters and situations reflect the times and societies in which they were created, and in performances decades or centuries later, they continue to adapt to reflect changing circumstances. A few operas go further, actually portraying people and events plucked from the history books, or even the headlines. This course considers a selection of operas "based on a true story." What is the true story, as far as we can discern? Who transformed the event into words, music, sets, costumes, and movement onstage? What decisions did they make, and how do those decisions serve to interpret the historical event? How do works and productions reflect, or at times subvert, societal power structures involving class, race, gender, and nationality? How have productions changed over time to reflect shifting attitudes about their subject matter? And what are the ethical and political implications of turning historical events into prestigious aesthetic objects?

A survey of music history of the classical and popular traditions from World War I to the present and an introduction to world music. Topics include the legacy of modernism, neoclassicism, the post World War II avant-garde, postmodernism, jazz and popular music, and representative non-Western traditions. The class includes detailed analytical, historical, and critical study of representative works through lectures, class discussions, writing assignments, and directed listening.

An introduction to jazz theory and improvisation through the study of selected compositions with emphasis on musical analysis, transcription, and performance. Laboratory required.

A study of compositional technique through the study of musical form (rondo and sonata form), style, performing forces, 20th-century compositional techniques, and analysis of selected compositions. One hour lesson per week is required.

A study of compositional technique through the study of extended instrumental and vocal techniques, indeterminacy and aleatory, style, performing forces, 20th-century compositional techniques, and analysis of selected compositions. One hour lesson per week is required.

An introduction to the music industry and to the treatment of music as a commodity. Topics include music publishing, licensing, copyright and intellectual property, artist management, concert promotion, music unions, merchandising, arts administration, the non-profit sector, the digital revolution, and the recording industry.

Basic concepts of piano techniques and musicianship, and their demonstration in the teaching studio. Selection of teaching materials from method courses for beginning students to repertoire for advanced pianists. Emphasis on creating teaching situations, student demonstration. Survey of well-known piano literature for interpretive guidelines and pedagogical application.

An introduction to the pedagogy of string teaching (violin, viola, `cello, and double bass) as it applies to individual and small group instruction (i.e.: the private studio.)

A study of the singing voice. This includes the structures, mechanics, and acoustics involved in the production of a sung tone, as well as practical methods for developing the voice and correcting vocal faults.

Designed for Applied Music students admitted to the Performance degree or other Applied Music students with written permission from the Director of the School of Music. One hour-long or two half-hour lessons per week required. May be repeated for credit. Registration for lessons is throughthe Music office prior to university registration.

Designed for Applied Music students admitted to the Performance degree or other Applied Music students with written permission from the Director of the School of Music. One hour-long or two half-hour lessons per week required. May be repeated for credit. Registration for lessons is throughthe Music office prior to university registration.

Music for small vocal and instrumental ensembles.

Prepares and performs music of many styles. Makes public appearances throughout the year and tours in the Pacific Northwest.

Prepares and performs varied repertoire for mixed voices. Makes public appearances throughout the year and tours in the Pacific Northwest.

Preparation and performance of works for symphony orchestra. Makes public appearances throughout the year. Tours in the Pacific Northwest.

An all-university group for mixed voices. Local performances are scheduled each semester.

Selected by audition from the Adelphian Concert Choir, Voci d'Amici is a select, vocal chamber ensemble dedicated to the performance of repertoire from all musical epochs. The ensemble is self-conducted.

An auditioned ensemble of women singing both accompanied and a capella literature and appearing in concert several times each semester.

This course familiarizes pianists with the skills required of a collaborative/ensemble pianist. Depending on the semester, music is selected from song literature, opera, choral, instrumental, and concerto accompaniments. Discussion of specific skills and techniques required for effective collaboration and accompaniment are emphasized. The course focus is primarily on skill-building and practical experience in rehearsal and performance. Students focus on sight-reading, transposition, navigating orchestral reductions, reading choral scores, and coaching of student performances.

Prepares and performs music of many jazz styles for both large bands and small combos. The jazz band plays concerts throughout the year, both on and off campus.

This course provides students the opportunity to explore through performance, arrangement, and production a variety of commercial music genres and styles. Each student has the opportunity to serve as the lead on one popular song per concert, a cover that they arrange and rehearse. Other students take on numerous roles (band member, producer, manager, PR) for a live concert in a rotating fashion. Faculty serve as coaches and guide students in their varying roles. There are up to three concerts per semester in various venues (to be arranged by the student concert producer).

An all-university ensemble for brass, woodwind, and percussion. Performs on campus each semester.

Advanced study of choral conducting techniques, emphasizing strategies for choral pedagogy, vocal warm-ups, advanced meters, and recitative. Class time is spent in lecture, discussion, demonstration, and skill refinement. Students conduct an ensemble consisting of class members during regular videotaped conducting labs, with formal and informal evaluation given by the instructor. Once a week, students conduct a lab ensemble consisting of music education majors, providing an opportunity for the exploration of choral repertoire and rehearsal techniques.

Advanced study of instrumental conducting techniques, emphasizing strategies for instrumental pedagogy, transposition, score reading, score study, analysis, and aural translation of the printed page. Class time is spent in lecture, discussion, demonstration, and skill refinement. Students conduct an ensemble consisting of class members during regular videotaped conducting labs, with formal and informal evaluation given by the instructor. Once a week, students conduct a lab ensemble consisting of music education majors, providing an opportunity for the exploration of band, orchestra and jazz repertoire and rehearsal techniques. The culminating exam includes conducting a university ensemble in rehearsal and concert.

An introduction to foundations of music education with emphasis on junior high and high school band, choir, orchestra, and jazz programs. This course explores theories of learning as applied to music and of teaching as a career. Topics include development of skills in curriculum building, lesson planning, comprehensive musicianship, reflective teaching and inquiry in music education. Practicum teaching and observing within school music programs is included throughout the semester.

A study and practice of general music curriculum and instruction in elementary and middle schools. Students develop teaching goals, strategies, and lessons for singing, playing instruments, listening, composing, improvising, music reading, analyzing, and creative movement. Practicum teaching and observing within elementary school music programs is included throughout the semester.

This comprehensive instructional course provides participants with research-based methods to implement a popular music ensemble that incorporates performance, composition, improvisation, informal learning, and Music as a Second Language. Those interested in the teaching and learning of popular music are given the tools to inform their own their own craft of teaching, composing, songwriting, or performance through Modern Band instruments including guitar, bass, drums, keyboards, vocals, and technology. By focusing on genres of music such as rock, reggae, country, pop and hip hop, Popular Music Pedagogies engages students in making music through informal learning methods. No prior experience playing Modern Band instruments is necessary to successfully participate in this course.

Composition of sixteenth- and eighteenth-century polyphony in two, three, and four parts. Topics include the sixteenth-century genres of motet, madrigal, canzonet, fantasia, and the eighteenth-century genres of chorale prelude, invention, and fugue. Students complete and present original contrapuntal compositions.

This course includes study of the ranges, techniques, and timbres of each orchestral instrument and addresses common issues associated with scoring for instruments in combination. Topics include arranging music for string ensemble, woodwind ensemble, brass ensemble, percussion ensemble, band, and orchestra. There are listening exams on orchestral literature and on aural recognition of various instrumental timbres both in solo settings and in combination with other instruments. Additionally, students create an original orchestral composition.

For Applied Music students other than Performance majors. One half-hour lesson per week is required. The choice of materials is left to the discretion of the instructors in each applied music area. In the jury examination given at the end of the term, students are required to perform excerpts from the material studied. Registration forlessons is administered through the Music office.

For Applied Music students other than Performance majors. One half-hour lesson per week is required. The choice of materials is left to the discretion of the instructors in each applied music area. In the jury examination given at the end of the term, students are required to perform excerpts from the material studied. Registration forlessons is administered through the Music office.

Preparation for a formal public recital usually presented by a junior or senior performance major. May be repeated.

This course provides a condensed overview of the narrative and elements of the Western ¿classical¿ music canon from the Middle Ages through the 20th century. It covers the eras, composers, genres, styles, terms, and famous works that constitute the classical canon in the U.S.--a body of knowledge widely held to be the most important elements of music history for musicians to know about, study, teach, and perform. Students independently research and gain fluency with the canonic repertoire and musicians in their own area of particular interest (such as choral music, solo violin repertoire, etc.) The second part of the course deals with how, why, and by whom the canon was constructed in the U.S. over the course of the 19th and 20th centuries, a process in which hierarchical, hegemonic views of national identity, class, race, ethnicity, religion, and gender played significant roles. Students creatively and critically explore questions of how and why the canon continues to be powerful today, and how they want to engage with or resist it in their own lives as music-makers.

In-depth analysis and application of advanced compositional techniques including pitch-class set theory, serialism, extended vocal and instrumental techniques, and advanced rhythmic devices. One hour lesson per week is required.

Introduction to elements and techniques of electroacoustic music, including MIDI (Musical Instrument Digital Interface), synthesis, sampling, and stereo and multitrack audio. One hour lesson per week is required.

Designed for Applied Music students admitted to the Performance degree or other Applied Music students with written permission from the Director of the School of Music. One hour-long or two half-hour lessons per week required. May be repeated for credit. Registration for lessons is throughthe Music office prior to university registration

Designed for Applied Music students admitted to the Performance degree or other Applied Music students with written permission from the Director of the School of Music. One hour-long or two half-hour lessons per week required. May be repeated for credit. Registration for lessons is throughthe Music office prior to university registration

A selected musicological topic is studied in a seminar format. Emphasis is given to cultural and stylistic issues and to methods and techniques of musicological research, analysis, and writing. May be repeated for credit.

Guided thesis in musicology. Topic and scope to be arranged between the student and faculty thesis advisor.

Independent study is available to those students who wish to continue their learning in an area after completing the regularly offered courses in that area.

Independent study is available to those students who wish to continue their learning in an area after completing the regularly offered courses in that area.

Designed to provide music business students with on-the-job experience with participating businesses. The student works with a faculty advisor to develop an individualized learning plan that connects the internship site experience to study in the major. The learning plan includes required reading, writing assignments, and a culminating project or paper. Registration is through Career and Employment Services.