Lower Division Courses

20A-20B.  Basic Musicianship. (2;2)   Three hours of lecture per week. Prerequisites: 20A is a prerequisite to 20B. Fundamentals of music, including notation, sight singing, ear training, and beginning linear analysis. For general students. (F,SP)

24.  Freshman Seminar. (1)   Course may be repeated for credit as topic varies. One hour of seminar per week. The Freshman Seminar Program has been designed to provide new students with the opportunity to explore an intellectual topic with a faculty member in a small-seminar setting. Freshman seminars are offered in all campus departments, and topics vary from department to department and semester to semester. Enrollment is limited to 15 freshmen.

25A-25B.  Introduction to Music Theory. (3;3)   Three hours of lecture per week. Prerequisites: 20A or other basic musicianship course or consent of instructor. A writing course based on traditional harmony. Beginning linear and vertical analysis. For general students. Emphasis on written exercises.

26AC.  Music in American Culture. (4)   Two hours of lecture, one hour of discussion, and one hour of listening per week. Two perspectives are developed: 1) diverse music of groups in America, and 2) American music as a unique phenomenon. Groups considered are African, Asian, European, Hispanic/Latino, and Native American. Lectures and musical examples are organized by topics such as music of socio-economic subgroups within large groups, survival of culture, pan-ethnicity, religious and concert music, and the folk-popular music continuum. This course satisfies the American cultures requirement. (F,SP)

27.  Introduction to Western Music. (4)   Two hours of lecture and one hour of discussion per week. Devoted to the development of listening skills, and a survey of major forms and types of Western art music. (F,SP)

29.  Music Now. (4)   Two hours of lecture and one hour of laboratory per week. This course explores the basic materials and models that set the boundaries for various present-day musical experiences. Students are exposed to terminology and modes of engagement with the aim of inspiring new paradigms of listening (e.g., listening to silence, noise, space, and timbre). Composers and musicians of today continue to explore new ways of defining and organizing sounds into music. The course focuses on the most adventurous music of our time, but the concepts learned can be applied to any style of music. The course is designed to enrich and deepen the students' musical abilities through direct involvement with musical materials. Direct engagement through listening and participatory learning is accomplished in part with software created at the Center for New Music and Audio Technologies. The course does not require students to be able to read music nor to own a personal computer. (F,SP) Campion, Ueno

39.  Freshman/Sophomore Seminar.   Course may be repeated for credit as topic varies. Sections 1-2 to be graded on a letter-grade basis. Sections 3-4 to be graded on a passed/not passed basis. Prerequisites: Priority given to freshmen and sophomores. Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester.

39M.  . (2-4)   Two to four hours of seminar per week.

40.  Group Carillon Lessons for Beginning Students. (1)   May be repeated once for credit. One hour of laboratory per week. Prerequisites: Consent of instructor. A course designed for students who wish to attain a beginner's level of proficiency on the carillon. Prospective students must have a working knowledge of the keyboard, read treble and bass clefs fluently, be secure in key signatures through three sharps and flats, and be comfortable with common duple and triple meters. (F,SP) Davis

41A.  Private Carillon Lessons for Beginning Students. (1)   Course may be repeated for a maximum of six units as long as B average is maintained. One half-hour lesson every week, plus participation in the student recital. Prerequisites: 40 or consent of instructor. Private carillon lessons to develop a personal repertory. In this course, students will begin to learn different practice techniques. (F,SP) Davis

41B.  Private Carillon Lessons for Intermediate Students. (1)   Course may be repeated for a maximum of 6 units as long as a B average is maintained. One-half hour lesson per week, one 10-minute concert each week, plus participation in the student recital. Prerequisites: 41A or consent of instructor. Private carillon lessons stressing musical questions and de-emphasizing technical and repertory issues. Composition and arranging may be included. Personal musicianship is examined and musical horizons are extended. (F,SP) Davis

41C.  Private Carillon Lessons for Advanced Students. (2)   Course may be repeated for a maximum of 6 units as long as a B average is maintained. One hour of laboratory per week. Prerequisites: 41A, 41B, and/or consent of instructor. Formerly 42. This course is designed for students to reach an advanced level of proficiency. Students are required to play one ten-minute concert per week plus participate in the student recital. (F,SP) Davis

42.  Carillon Lessons for Advanced Students. (2)   Course may be repeated for a maximum of 6 units as long as a B average is maintained. One hour of private lesson per week, one 10-minute concert each week, a minimum of three Sunday recitals per semester, and participation in the student recital. Prerequisites: 41A, 41B, or consent of instructor. This course is a requirement for those students who are studying for examination by the Guild of Carillonneurs in North America. (F,SP) Davis

43.  Introduction to Improvisation. (3)   Three hours of lecture per week. Prerequisites: 20A or equivalent and audition. This course will serve as an introduction to performance practices in contemporary improvisation. Several approaches to improvising will be presented including African American jazz and blues traditions, North Indian Raga, gaming strategies, graphic notation, and conducted improvisation or "sound painting." Class activities will include improvisation exercises and games and repertoire development. Assignments will include listening to and analysis of recorded and live performances and the creation of student works. (F,SP) Melford

44.  Voice Class. (1)   Course may be repeated for credit. Two hours of studio per week. Prerequisites: Students must undergo an initial vocal assessment in the first class session before being admitted into the class. This course will provide students with a functional understanding of the fundamentals of healthy singing. Topics will include vocal technique (alignment, breathing, negotiating the full vocal range, vowel production), the art of vocalizing, lyric diction, and repertoire selection. While the class will focus on the "bel canto" (classical) style of singing, this same technique is applicable and useful to musical theater, jazz, and pop singing. Within a laboratory setting, students will receive group instruction and personalized individual feedback and attention as possible. Singers will prepare two songs in the course for the semester, one in English and one in a foreign language, to be performed from memory as soloists for the final exam. This course is open to all undergraduates across campus. Students involved in campus vocal ensembles are encouraged to enroll. No prior music experience is required. (F,SP) Johnson, C.

49A.  Thinking about Music. (2)   Two hours of lecture per week. Prerequisites: Department placement exam; 49B-49C (to be taken concurrently). As a complement to Music 49B and 49C, this course introduces current and intending majors to perspectives that are central to the music major curriculum. It is organized around themes such as music and meaning, the relationship between written and aural transmission of music, and the interpretation of musical traditions, repertoires, and practices in relation to particular socio-historical contexts. Topics and musics to be studied vary by instuctor. (F,SP)

49B.  Musicianship. (3)   Three hours of lecture per week. Prerequisites: Music Placement Examination. Formerly 50A. Diatonic sight singing, ear training, and keyboard harmony. (F,SP)

49C.  Harmony. (3)   Three hours of lecture per week. Prerequisites: Music Placement Examination. Formerly 60A. Diatonic harmony, chorale harmonization, and analytical studies. Emphasis on written exercises. (F,SP)

50.  Musicianship. (3)   Three hours of lecture per week. Prerequisites: Advanced placement in Music Placement Exam, 49B, or 50A. Formerly 50B. Continuation of diatonic sight singing and ear training, introduction to chromatic sight singing, ear training, keyboard harmony, and score reading. (F,SP)

51.  Musicianship. (3)   Three hours of lecture per week. Prerequisites: Advanced placement in Music Placement Examination or 50. Formerly 51A. Sight singing, ear training, keyboard harmony, and score reading involving increasing chromaticism. (F,SP) Staff

60.  Harmony. (3)   Three hours of lecture per week. Prerequisites: Advanced placement in Harmony Placement Exam, 49C, or 60A. Formerly 60B. Advanced diatonic harmony, modulation, introduction to altered chords, chorale harmonization, and analytic studies. Emphasis on written exercises. (F,SP)

61.  Harmony. (3)   Three hours of lecture per week. Prerequisites: Advanced placement in Harmony Placement Examination or 60. Formerly 61A. Advanced diatonic harmony, advanced modulation, altered chords, chromatic harmony, and analytic studies. Emphasis on written exercises. (F,SP)

74.  Introduction to Selected Musics of the World. (4)   Course may be repeated for credit. Three hours of lecture and one hour of performance laboratory per week. Focus on performance practice, forms, styles, instruments, and meanings of particular musics from an ethnomusicological perspective. The musics to be studied vary; see offerings in the 130 series for specific course descriptions. Alternate lower division course numbering for lower division majors enrolling in the 130 series. This course will meet lower division major requirement. (F,SP) Brinner, Guilbault, Wade

75.  History of Western Music: Music to 1700. (4)   Three hours of lecture and one hour of discussion per week. Prerequisites: Department placement examination, 49C (may be taken concurrently). Formerly 171A. Studies in Medieval and Renaissance music. An introduction to music history and criticism, and practice in analytical methods for music of all periods, with emphasis on listening, exercises, and papers. (SP)

76.  History of Western Music: The 18th and 19th Centuries. (4)   Three hours of lecture and one hour of discussion per week. Prerequisites: 60 (may be taken concurrently). Formerly 70. Music of the 18th and 19th centuries. An introduction to music history and criticism, and practice in analytical methods for music of all periods, with emphasis on listening, exercises, and papers. (F)

77.  History of Western Music: The 20th Century. (4)   Three hours of lecture and one hour of discussion per week. Prerequisites: 60. Formerly 170. Music of the 20th century. (SP) Taruskin

97.  Field Studies. (1-3)   Course may be repeated for credit. One to three hours of fieldwork per week. Must be taken on a passed/not passed basis. Prerequisites: Music major. Department organized and supervised field programs involving experiences in tutoring and related activities. Students taking the course for the first time will be provided with training suitable to the subject matter being tutored. (F,SP) Staff

98.  Directed Group Study for Freshmen and Sophomores. (1-4)   Course may be repeated for credit. Enrollment is restricted; see the Introduction to Courses and Curricula section of this catalog. Two contact hours per unit per week. Must be taken on a passed/not passed basis. Prerequisites: Lower division standing and consent of instructor. Group study in a field that may not coincide with that of any regular course. See the Introduction to Courses and Curricula section of the General Catalog for enrollment restrictions. (F,SP) Staff

99.  Independent Study for Freshmen and Sophomores. (1-4)   Course may be repeated for credit. Two contact hours per unit per week. Must be taken on a passed/not passed basis. Prerequisites: Lower division standing and consent of instructor. Directed individual study in a field that may not coincide with that of any regular course. See the Introduction to Courses and Curricula section of the General Catalog for enrollment restrictions. (F,SP) Staff

Upper Division Courses

108.  Music Perception and Cognition. (4)   Three hours of lecture and two hours of laboratory per week. Prerequisites: Consent of instructor. Formerly 115. A review of the sensory, perceptual, and cognitive foundations of listening, composing, and performing. Topics include relations among various acoustical and perceptual characterizations of sound; perception of pitch, temporal relations, timbre, stability conditions, and auditory space; auditory scene analysis and perceptual grouping mechanisms; perceptual principles for melodic, rhythmic, and harmonic organization; orchestration as spectral composition. A course research project is required.

108M.  Music Perception and Cognition. (4)   Three hours of lecture and two hours of laboratory per week. Formerly 115. A review of the sensory, perceptual, and cognitive foundations of listening, performing, and composing. Topics include relations among various acoustical and perceptual characterizations of sound; perceptions of pitch, time, temporal relations, timbre, stability conditions, and auditory space; auditory scene analysis and perceptual grouping mechanisms; perceptual principles for melodic, rhythmic, and harmonic organization; orchestration as spectral composition. The course research project should involve the analysis of musical examples or perceptual and cognitive issues in music theory or both.

109.  Music Cognition: The Mind Behind the Musical Ear. (3)   Three hours of lecture per week. The goal of this class is to interrogate and make explicit the powerful musical intuitions that are at work as you make sense of the music all around you. What is the nature of the knowledge that is guiding these intuitions? How does this knowledge develop in ordinary and extraordinary ways? To approach these questions, small composition-like projects aided by a specially designed computer music environment will function as a workplace. You will explore, experiment, question, and reflect on how and what you know how to do as you generate the musical coherence that you seem simply to find. (F,SP) Bamberger

116A.  Jazz Theory and Performance 1. (3)   Students will receive no credit for 116A after taking 116 or 116M. Three hours of lecture and one hour of studio per week. Prerequisites: Audition. Formerly 116. A systematic study of jazz theory including scales, chords, keyboard voicings, solo transcription, and tune study approached through playing, singing, listening, writing, improvization, analysis, and small ensemble playing. (F,SP) Dana

116AM.  Jazz Theory and Performance 1. (3)   Students will receive no credit for 116AM after taking 116 or 116M. Three hours of lecture and one hour of studio per week. Prerequisites: Audition. Formerly 116M. A systematic study of jazz theory including scales, chords, keyboard voicings, solo transcription, and tune study approached through playing, singing, listening, writing, improvization, analysis, and small ensemble playing. (F,SP) Dana

116B.  Jazz Theory and Performance 2. (3)   Two hours of lecture and three hours of studio per week. Prerequisites: 116, 116M, 116A, or 116AM, or consent of instructor; Audition. Advanced concepts in theory and performance in the jazz vernacular tradition, including melodic minor and diminished chords and scales, reharmonization, I Got Rhythm changes, Coltrane changes, use of pentatonics and 4ths, playing outside, solo analysis, piano voicings, and an introduction to jazz arranging and composition. Activities will include short writing and playing exercises, transcription and analysis, historical and analytical readings, arranging and composition projects for small ensemble, and three hours of small ensemble rehearsal each week. (F,SP) Dana

116BM.  Jazz Theory and Performance 2. (3)   Two hours of lecture and three hours of studio per week. Prerequisites: 116, 116M, 116A, or 116AM, or consent of instructor; Audition. Advanced concepts in theory and performance in the jazz vernacular tradition, including melodic minor and diminished chords and scales, reharmonization, I Got Rhythm changes, Coltrane changes, use of pentatonics and 4ths, playing outside, solo analysis, piano voicings, and an introduction to jazz arranging and composition. Activities will include short writing and playing exercises, transcription and analysis, historical and analytical readings, arranging and composition projects for small ensemble, and three hours of small ensemble rehearsal each week. (F,SP) Dana

128.  Topics in the History of European and American Music. (3)   Course may be repeated for credit. Three hours of lecture per week. Prerequisites: 27 or consent of instructor. For non-majors. A comparative study of different genres and composers in western music. Topic will vary each semester. (F,SP) Staff

128A.  Opera. (3)   Three hours of lecture per week. Prerequisites: 27 or consent of instructor. A study of musical and dramatic aspects of opera. Lectures on selected operas will be supplemented by assigned recordings and films or videotapes of notable performances.

128AM.  Opera. (4)   Students will not receive credit for 128AM after taking 128A. Three hours of lecture per week. Prerequisites: 61B, and 75 or 76. Restricted to music majors. A study of musical and dramatic aspects of opera. Lectures on selected operas will be supplemented by assigned recordings and films or videotapes of notable performances. Analytical studies and a term paper required.

128B.  Beethoven. (3)   Three hours of lecture per week. Prerequisites: 27 or consent of instructor. This course is an introduction to Beethoven's music and its historical contexts. While closely analyzing individual works, this course also examines how Beethoven and his music have been represented and interpreted until our own day, exploring the values--musical and cultural--that have ensured Beethoven's towering position in Western music.

128BM.  Beethoven. (3)   Three hours of lecture per week. Prerequisites: Restricted to music majors. This course is an introduction to Beethoven's music and its historical contexts. While closely analyzing individual works, this course also examines how Beethoven and his music have been represented and interpreted until our own day, exploring the values--musical and cultural--that have ensured Beethoven's towering position in Western music. (F,SP) Mathew

128C.  Contemporary Music. (3)   Three hours of lecture per week. Prerequisites: 27 or consent of instructor. Twentieth-century music, from Stravinsky to the present. (F,SP)

128D.  J. S. Bach. (3)   Three hours of lecture per week. Prerequisites: 27 or consent of instructor. An introduction to the music of J. S. Bach (1685-1750), a central figure in the history of Western Art Music. The course includes discussion of his organ music, harpsichord works, cantatas, Passion settings, and instrumental chamber music, discusses the relationship between Bach's biography and his compositions, and places study of the man and his music in its cultural and historical context. Required work will include one short paper and one longer paper. There will also be weekly reading and listening assignments. (F,SP) Moroney

128DM.  J. S. Bach. (4)   Three hours of lecture per week. Prerequisites: Restricted to music majors. An introduction to the music of J. S. Bach (1685-1750), a central figure in the history of Western Art Music. The course includes discussion of his organ music, harpsichord works, cantatas, Passion settings, and instrumental chamber music, discusses the relationship between Bach's biography and his compositions, and places study of the man and his music in its cultural and historical context. Required work will include one medium-length paper, one longer research paper, and one analytical study. There will also be weekly reading and listening assignments. (F,SP) Moroney

128M.  Wagner. (4)   Three hours of lecture per week. Prerequisites: 27 or consent of instructor. The interaction of music and drama in representative scenes from Wagner's operas from The Flying Dutchman through The Twilight of the Gods. Readings from Baudelaire to Adorno will illuminate Wagner's influence on 19th- and 20th-century culture.

128Q.  The European/American Art Song. (3)   Three hours of lecture per week. Prerequisites: 27 or consent of instructor. A study of song and the interaction of poetry and music, from late 18th through the 20th century, with texts in English, German, French, and Russian in translation. Music by composers ranging from Mozart and Schubert to Gershwin and Bernstein will be included, with occasional live performances by local artists.

128S.  Topics in Contemporary Improvised Music. (3)   Course may be repeated for credit as topic varies. Three hours of lecture per week. Prerequisites: Jazz history recommended, though not required. Topic(s) in contemporary improvised music will be selected from among the following: innovations in jazz in the 1960s; further innovations in jazz in the 1970s; women in improvised music; improvisation, intermedia, and new technologies; the Association for the Advancement of Creative Musicians (AACM); the phenomenon of the composer/performer/improviser in today's music; a global look at improvisation: fusion and hybrid forms. Please contact instructor for information on current topic(s). (F,SP) Melford

128SM.  Topics in Contemporary Improvised Music. (3)   Course may be repeated for credit as topic varies. Three hours of lecture per week. Prerequisites: Jazz history recommended, though not required. Topic(s) in contemporary improvised music will be selected from among the following: innovations in jazz in the 1960s; further innovations in jazz in the 1970s; women in improvised music; improvisation, intermedia, and new technologies; the Association for the Advancement of Creative Musicians (AACM); the phenomenon of the composer/performer/improviser in today's music; a global look at improvisation: fusion and hybrid forms. Please contact instructor for information on current topic(s). (F,SP) Melford

130B.  African American Music. (4)   Three hours of lecture and one hour of discussion per week. Historical and analytical study of African-American music in the 20th-century. Emphasis on the evolution of jazz and various forms of popular and religious music.

130BM.  African American Music. (4)   Three hours of lecture and one hour of discussion per week. Prerequisites: Restricted to music majors; 51B and 61B. Historical and analytical study of African American music in the 20th century. Emphasis on the evolution of jazz and various forms of popular and religious music. Analytic studies and a term paper required.

131A.  Music of India. (4)   Three hours of lecture and one hour of laboratory per week. Formerly 133B. Includes the classical music traditions of both North and South India (Hindustani and Karnatak musics). Emphasis on class listening. (F,SP)

132.  Music of the Middle East. (4)   Three hours of lecture and one hour of laboratory (devoted to playing Arabic music) per week. Music of the Middle East, including folk, art, popular, and religious music of the Pan-Islamic and Israeli traditions. Brinner

133C.  Music and Theater in Southeast Asia. (4)   Three hours of lecture and one hour of laboratory (devoted to playing Balinese and Javanese Gamelan) per week. Formerly 133A. Surveys musical traditions of Indonesia and mainland Southeast Asia with special emphasis on Java and Bali and the central role of music in theater and dance in these countries.

133D.  Music of Central Java. (4)   Three hours of lecture and one hour of laboratory (devoted to playing the Javanese Gamelan) per week. In-depth study of the Central Javanese gamelan tradition including performance contexts, repertoire, vocal and instrumental idioms, modal practice and improvisation in current practice and in historical perspective.

134A.  Music of the East Asia Tradition. (4)   Three hours of lecture and one hour of laboratory per week. Surveys the musics of China, Tibet, Korea, Vietnam, and Japan--cultures which share instrument types but have developed distinctive musical styles.

134B.  Music of Japan. (4)   Three hours of lecture and one hour of laboratory per week. Traditional classical music of Japan: Shinto ritual music, the imperial court orchestral music and dance, biwa and shakuhachi forms, chamber music for shamisen and koto, theatrical genres of kabuki and noh. Reading in music and pertinent Japanese literature in translation.

C134C.  Sonic Culture in China. (4)   Three hours of lecture and one hour of discussion per week. Prerequisites: 7A or 7B, and/or previous course work in either Chinese literature and culture, or music. This course explores the aesthetics and politics of sound - both musical and otherwise - in Chinese cultures. Through musical discourse and literary discourses on music, we trace the ways in which sound has been produced, heard, understood, and debated in both pre-modern and modern China. Topics include Confucian musical theory, Daoist hermeneutics, music, and poetry; the impact of recording technology and Western music; urban popular musics, sound and cinema, and contemporary soundscapes. Also listed as Chinese C184.

135A.  Musics of the Caribbean. (4)   Three hours of lecture and one hour of laboratory per week. Focus on the history, musical structure, and socio-political, economic, and cultural roles of selected traditional and popular music genres of the Caribbean.

139.  Topics in Musics of the World. (4)   Course may be repeated for credit. Three hours of lecture and one hour of laboratory per week. Surveys the music of different world cultures. The particular culture to be studied will vary. (F,SP)

140.  Javanese Gamelan. (2)   Course may be repeated for credit. Three hours of large ensemble per week. A performing course for the study and practice of Indonesian music and instruments. (F,SP)

141.  University Symphony Orchestra. (2)   Course may be repeated for credit. Four hours of rehearsal per week. Prerequisites: Audition. May be taken for credit or audited. (F,SP) Milnes

142.  University Wind Ensemble. (2)   Course may be repeated for credit. Four hours of rehearsal per week. Prerequisites: Audition. A performing course for the study and practice of traditional and contemporary wind band repertoire. (SP) Calonico

143.  Gospel Chorus. (2)   Course may be repeated for credit. Three hours of large ensemble and one hour of sectional per week. A course that will focus on the performance of choral music of the African American gospel music tradition with a particular emphasis on contemporary performance techniques. The Gospel Chorus, as is the case with other formal University music performance ensembles, will prepare music to be presented to the public in at least two concerts each semester. Students will be selected for the chorus on the basis of individual auditions. (F,SP) Staff

C143.  Gospel Chorus. (2)   Course may be repeated for credit. Three hours of large ensemble and one hour of sectionals per week. A course that will focus on the performance of choral music of the African American gospel music tradition with a particular emphasis on contemporary performance techniques. The Gospel Chorus, as is the case with other formal University music performance ensembles, will prepare music to be presented to the public in at least two concerts each semester. Students will be selected for the chorus on the basis of individual auditions. Also listed as African American Studies C145. (F,SP) Henderson

144.  University Chorus. (2)   Course may be repeated for credit. Three hours of rehearsal and one hour of sectional rehearsal per week. Prerequisites: Audition. The University Chorus performs music primarily from the 17th to the 20th centuries including works for chorus and orchestra. (F,SP) Kuzma

145.  University Chamber Chorus. (2)   Course may be repeated for credit. Four hours of rehearsal per week. Prerequisites: Audition. A smaller mixed chorus that aims at a professional standard of ensemble singing and explores the lesser-known choral repertory. (F,SP) Kuzma

147.  Contemporary Improvisation Ensemble. (2)   Course may be repeated for credit. Three hours of rehearsal and one hour of preparation per week. Prerequisites: 43, 116A, and 116AM, or equivalent, and audition. This is an intermediate-advanced repertoire ensemble performing music that incorporates experimental practices in contemporary improvised music, encompassing several styles of music and a variety of approaches. We will work on traditionally notated scores as well as graphic notation and other structures. We will also look at game pieces such as John Zorn's Cobra, pieces by the graduate composers, and music using various conducting techniques for focusing ensembles of improvisers. All instruments welcome, including electronic and non-western. (SP) Melford

148.  African Music Ensemble. (2)   Course may be repeated for credit. Four hours of rehearsal per week. Performance of West African music with particular emphasis on the music of Ghana. Practical instruction in traditional instrumental and vocal techniques. (F,SP) Ladzekpo

149.  University Baroque Ensemble. (2)   Course may be repeated for credit. Four hours of rehearsal per week. Performance of Renaissance and Baroque music for voices and instruments.

150A.  Instrumental Performance. (3)   Course may be repeated for credit. Must be taken for a letter grade. Four hours of studio per week. Prerequisites: Music majors only. By audition, for experienced performers of orchestral instruments. A directed program of study including participation in the University Symphony or other department-sponsored ensembles, in workshops, and in special projects. Will include instruction and/or coaching, individually or in groups. The student's program will be worked out in consultation with the faculty in charge of the course. Each student's studies will lead to some kind of public performance. (F,SP) Milnes

150B.  Vocal Performance. (3)   Course may be repeated for credit. Must be taken for a letter grade. Four hours of studio per week. Prerequisites: Music majors only. By audition for experienced vocalists. A comprehensive program of vocal studies including participation in University Choruses, vocal technique training, and ensemble work with other instrumentalists or vocalists. The student's program will be worked out in consultation with the faculty in charge of the course. Each student's studies will lead to some kind of public performance. (F,SP) Kuzma

150C.  Keyboard Performance. (2)   Course may be repeated for credit. Four hours of studio per week. Prerequisites: Music majors only. By audition, for experienced performers of keyboard or related instruments. The program will focus on the study of solo repertoire. The student's program will be worked out in consultation with the faculty in charge of the course. Each student's studies will lead to some kind of public performance. (F,SP) Moroney

150D.  Various Musical Practices Performance. (3)   Course may be repeated for credit. Must be taken for a letter grade. Four hours of studio per week. Prerequisites: Music major only. By audition. Intermediate or advanced instruction in musical practices not encompassed in 150A-150B-150C, within the context of a directed academic program of studies. Students must have experience on the instrument or have studied it in the 130 series. The student's program will be worked out in consultation with the faculty in charge of the course. Each student's studies will lead to some kind of public performance. (F,SP) Brinner

150E.  Jazz Performance. (1-3)   Course may be repeated for credit. Three to nine hours of practice/lessons/ensemble per week. Prerequisites: Open to music majors by audition only. Intermediate or advanced instruction in the performance of jazz and improvisation. A directed program of study including participation in department-sponsored or UC Jazz ensembles, workshops, and special projects where applicable. Will include instruction and/or coaching, individually or in groups. Each student's studies will lead to some kind of public performance. The student's program will be worked out in consultation with the faculty in charge of the course. Units range from 1 to 3, depending on number of lessons and ensemble participation. (F,SP) Melford

150F.  Ensemble Work for Keyboard Players. (1)   Course may be repeated for credit. Minimum of one hour of studio per week. May be repeated for credit if student maintains 'B' average. Prerequisites: Music majors only. By audition for skilled keyboard players. This course will be devoted to the various skills of keyboard performance that do not involve the solo repertoire. These include but are not limited to piano duets, obbligato keyboard parts to standard instrumental repertoire, Lieder and melodie accompaniment, figured bass studies, reduction of orchestral accompaniments for opera arias from the standard vocal repertoire, etc. One of these topics will normally be studied for one full semester (each time at the student's choice, but in consultation with the faculty). Each student's study will normally lead to some kind of public performance. (F,SP) Rosenak

150G.  Guitar Performance. (2)   Course may be repeated for credit. Minimum of two hours of studio per week. Prerequisites: Music majors only. By audition, for experienced guitar performers. The program will include ensemble work in addition to the study of solo repertoire. The student's program will be worked out in consultation with the faculty in charge of the course. Each student's studies will lead to some kind of public performance. (F,SP) Liderman

150H.  Early Music Performance. (1-3)   Course may be repeated for credit. Minimum of one to three hours of studio per week. Prerequisites: Music majors only. By audition, for performers on early music instruments. The program will include ensemble work in addition to the study of solo repertoire. The student's program will be worked out in consultation with the faculty in charge of the course. Each student's studies will lead to some kind of public performance. (F,SP) Liderman

151.  Twentieth-Century Harmony. (3)   Three hours of lecture per week. Prerequisites: Advanced placement in Harmony Placement Examination or 61. Formerly 61B. Advanced chromatic harmony, early 20th-century harmony, and analytic studies. Emphasis on written exercises.

152.  Advanced Musicianship. (3)   Three hours of class per week. Prerequisites: 51, 61, and 405D. Continuation of the skills acquired in prerequisite courses, with an emphasis on score reading skills (including use of the voice) and the realization of Baroque figured bass lines. Increased emphasis on 20th-century and contemporary practice. Staff

154A.  Counterpoint. (3)   Three hours of lecture per week. Prerequisites: 50 and 60. A study of species counterpoint. Regular exercises in two and three voices required. Group discussion and analysis. (F)

154B.  Counterpoint. (3)   Three hours of lecture per week. Prerequisites: 50 and 60. A study of 18th-century counterpoint. Regular exercises required. Analysis of chorale preludes, two- and three-part inventions, canons, and fugue expositions. (SP) Staff

155.  Music Composition. (3)   Course may be repeated for credit. Three hours of lecture per week. Prerequisites: 50 and 60. A study of formal problems using contemporary composition techniques. (F,SP) Staff

156.  Studies in Musical Analysis. (3)   Three hours of lecture per week. Prerequisites: 50 and 60. The study of various analytical techniques and their application to important works of music.

157A-157B.  Orchestration. (3;3)   Three hours of lecture plus considerable out of class work including some special workshop sections. Prerequisites: 50 and 60. Formerly 157. A study of instrumentation--the construction capabilities and idiomatic qualities of all of the individual instruments which comprise the contemporary symphony orchestra followed by a study of the 18th-, 19th-, and 20th-century orchestrational technique. Analysis of scores and assignments in scoring of selected instrumental combinations.

158.  Musical Applications of Computers and Related Technologies. (4)   Three hours of lecture and four hours of laboratory per week. Basic concepts and techniques of computer-based music research, composition, and performance. Essentials of digital audio signal processing, musical acoustics and psychoacoustics, sound analysis and synthesis, musical databases, use of MIDI, computer programming for music, and computer-aided music analysis. Works from the computer music repertoire will be examined.

161A.  Instrumental Conducting. (3)   Course may be repeated once for credit. Four hours of class per week. Prerequisites: 51 and 61; 152 and 156 recommended. Formerly 160. A study of the basic elements of conducting: physical gesture, score reading, and score analysis. Development of skills with emphasis on conducting and rehearsal techniques applicable to orchestral literature in various languages and musical styles. Preparation of selected works for rehearsal and performance in class. Should be taken in a two-semester sequence. (F,SP)

161B.  Instrumental Conducting. (3)   Course may be repeated once for credit. Four hours of class per week. Prerequisites: 51 and 61; 152 and 156 recommended. Formerly 161. A study of the basic elements of conducting: physical gesture, score reading, and score analysis. Development of skills with emphasis on conducting and rehearsal techniques applicable to orchestral literature in various languages and musical styles. Preparation of selected works for rehearsal and performance in class. Should be taken in a two-semester sequence.

162.  Choral Conducting. (4)   Four hours of class per week. Prerequisites: 160 or consent of instructor; 152 and 156 recommended. Continued development of skills introduced in 160 with emphasis on conducting and rehearsal techniques applicable to choral literature in various languages and musical styles. Preparation of selected works for rehearsal and performance in class.

164.  Current Trends in Jazz and Improvisation-Based Musics--A Performance Workshop. (3)   Course may be repeated for credit. Three hours of session per week. Prerequisites: 43, 116A, and 116B, or equivalent, and audition. This is an intermediate-advanced level performance workshop in jazz-based improvisational music. Class participants will perform pieces from innovative jazz artists of the 60s and 70s up through and including music by contemporary composer/performer/improvisers who have come out of the jazz tradition. Course will also cover related theory and musicianship skills that enable the performer to improvise in this idiom. (F,SP) Melford

171B.  Studies in Medieval and Renaissance Music. (3)   Three hours of lecture per week. Prerequisites: 49C and 75 (may be taken concurrently). A study of the music of the Middle Ages and the Renaissance. Focus of course will vary.

171D.  The Performance of Baroque Music. (3)   Three hours of lecture per week. Prerequisites: 60 and 76 (may be taken concurrently); experience playing an instrument or singing. A study of music from ca. 1600-1750 with emphasis upon performance practices and styles.

171E.  J. S. Bach. (3)   Three hours of lecture per week. Prerequisites: 60 and 76 or consent of instructor.

172A.  Mozart. (3)   Three hours of lecture per week. Prerequisites: 60 and 76 or consent of instructor.

172B.  Beethoven. (3)   Three hours of lecture per week. Prerequisites: 60 and 76 or consent of instructor; 61 recommended.

173B.  Art Song of the 19th Century. (3)   Three hours of lecture per week. Prerequisites: 61 (may be taken concurrently) and 76 or consent of instructor. A study of art song with emphasis upon the music of Schubert, Schumann, and Wolf, with some songs in French and English.

173D.  Schubert to Brahms. (3)   Three hours of lecture per week. Prerequisites: 60 and 76 or consent of instructor; 61 recommended. A study of symphonic and chamber works selected from the tradition of German instrumental music that led through Schubert and Schumann to Brahms.

173F.  Verdi and Wagner. (3)   Three hours of lecture per week. Prerequisites: 60 and 76 or consent of instructor; 61 recommended. A study of the contrasting styles represented by Verdi and Wagner, approached through selected operas, literary works, and the composers' writings.

174A.  Debussy and Mahler. (3)   Three hours of lecture per week. Prerequisites: 61 (may be taken concurrently) and 76 or consent of instructor. A comparison of selected works of Debussy and Mahler.

174C.  Stravinsky. (3)   Three hours of lecture per week. Prerequisites: 60 and 76 or consent of instructor; 61 recommended.

179.  Topics in History, Culture, and Analysis. (3)   Course may be repeated for credit. Three hours of lecture per week. Prerequisites: 60 and 76 or consent of instructor. A seminar for upper division music majors. Topics will change each semester but will always represent a fairly narrow focus on a single issue in the history, interpretation, or social meaning of music. The course provides students with an opportunity to go deeply into one subject, to discuss their ideas in a seminar setting, and to carry out a substantial independent research project.

189.  Topics in Research and Performance. (3)   Course may be repeated for credit. Three hours of lecture per week. Prerequisites: 60 and 76 or consent of instructor. A seminar for upper division music majors. The primary purpose of this course is to create an environment in which students can combine the research and analysis of music with live performance. The specific topic covered will change each semester. Class time will be divided equally among (1) historical and analytical readings; (2) discussion and analysis of recorded and live performances; (3) in-class performance. The final project will combine scholarly work and performance in the form of a lecture-recital or collaborative creative project.

H195.  Special Study for Honors Candidates in Music. (4)   Course may be repeated once for credit. Independent study. Prerequisites: Restricted to seniors with a grade-point average of 3.3 overall and 3.5 in the major. Consent of instructor and Department Honors Committee. Individual tutorials leading to the completion of a special honors project. (F,SP)

197.  Field Studies. (1-3)   Course may be repeated for credit. One to three hours of fieldwork per week. Must be taken on a passed/not passed basis. Prerequisites: Music major. Department organized and supervised field programs involving experiences in tutoring and related activities. Students taking the course for the first time will be provided with training suitable to the subject matter being tutored. (F,SP) Staff

198.  Group Special Study for Advanced Undergraduates. (1-4)   Course may be repeated for credit. Enrollment is restricted; see the Introduction to Courses and Curricula section of this catalog. Must be taken on a passed/not passed basis. Not to serve in lieu of regular courses of instruction. (F,SP)

199.  Supervised Independent Study and Research. (1-4)   Course may be repeated for credit. Must be taken on a passed/not passed basis. Not to serve in lieu of regular courses of instruction. Enrollment restrictions apply; see the Introduction to Courses and Curricula section of this catalog. (F,SP)

Graduate Courses

200A.  Music Scholarship I. (2-4)   Three hours of seminar per week. Principles of music bibliography, techniques of library research, history of music printing and publishing. Presentation of results in written and oral forms. Students in Ethnomusicology will take the first half of the course for 2 units. Students in History and Literature will take the entire course for 4 units. (F)

200B.  Introduction to Music Scholarship II. (4)   Three hours of seminar per week. Principles and methods of scholarly research in Western art music, especially history and criticism of music; use of documents, and design of projects. Presentation of results in written and oral forms. (F)

200C.  Introduction to Music Scholarship III. (4)   Three hours of seminar per week. Introduction to issues and methods in ethnomusicology, from the perspectives of both the social sciences and music. Presentation of results in written and oral forms. (F)

201A.  Proseminar in Computer Music. (4)   Three hours of lecture and four hours of laboratory per week. Prerequisites: Consent of instructor. Overview of the field of computer music and its application to music composition. Practices, procedures, and aesthetics related to the application of newer technologies to music composition will be covered in tandem with contemporary research topics in computer music. Recent computer music repertoire with its related technologies will be examined. Students in this proseminar must have advanced musical training and knowledge of the history and repertoire of electro-acoustic music. (F) Campion

202.  Seminar in Contemporary Music. (4)   Course may be repeated for credit. Three hours of seminar per week. Studies in 20th-century music.

203.  Seminar in Composition. (4)   Course may be repeated for credit. Three hours of seminar per week. Prerequisites: Limited to advanced students of composition. A study of relevant problems and compositional techniques of contemporary music. Original compositions required of students. Group discussion and criticism. (F,SP)

204.  Studies in Musical Analysis. (4)   Course may be repeated for credit. Three hours of seminar per week. The application of analytical principles to a group of compositions and the intensive study of at least one major work.

205.  Fugue. (4)   Three hours of class per week. Prerequisites: 154B. A study of subjects, answers, countersubjects, expositions, episodes and stretti, leading to the writing of complete fugues. Regular written assignments required.

207.  Advanced Projects in Computer Music. (4)   Course may be repeated for credit. Three hours of lecture per week. Prerequisites: Consent of instructor. Designed for graduate students in music composition, but open to graduate students in related disciplines who can demonstrate thorough knowledge of the history of electro-acoustic music as well as significant experience with computer music practice and research. All projects are subject to approval of the instructor. (F,SP) Campion

208A.  Advanced Music Perception and Cognition. (4)   Course may be repeated for credit. Three hours of seminar per week. Experimental studies in Music Perception and Cognition. Research projects required.

209.  Advanced Topics in Computer Music. (4)   Course may be repeated for credit. Three hours of seminar per week. Technical and musical issues in the design and development of computer-based music systems including digital signal processing for the analysis and synthesis of sound, scheduling of multiple musical control processes, perceptual and cognitive models, user-interface design, reactive real-time control, and the analysis and representation of musical structure.

210.  A Multi-Disciplinary Graduate Seminar for Composers, Improvisers, and Artists of Diverse Media. (4)   Course may be repeated for credit. Three hours of seminar per week. Prerequisites: By audition or consent of instructor. This course will serve as a weekly forum to explore and engage in the rich possibilities and diverse strategies for creating multi-disciplinary work through the use of improvisation. Weekly activities include exploration of improvisation techniques across disciplines and the study of existing multi-disciplinary works that have incorporated improvisation either in the process of creating the work and/or in the final product. Each student will work on a project that culminates in a final performance or installation. Collaboration is encouraged. Course is open to graduate students in music composition, dance, theater and performance studies, new media, creative writing, visual art, film, and video. (F,SP) Melford

213.  Seminar: Studies in the 16th Century. (4)   Course may be repeated for credit. Three hours of seminar per week. A highly specialized study of 16th century music. The topic will change each time the course is offered.

214.  Musical Applications of CNMAT Technologies. (1)   Six hours of lecture/practical laboratory per week for two weeks. Must be taken on a satisfactory/unsatisfactory basis. Prerequisites: Consent of instructor. This hands-on course will expose students to musical tools developed by the Center for New Music and Audio Technologies (CNMAT). Topics include performative and compositional applications of current research at CNMAT, including sound synthesis and diffusion, high-level control, and network applications. (F,SP)

216.  Seminar: Studies in Baroque Music. (4)   Course may be repeated for credit. Three hours of seminar per week. A highly specialized course in Baroque music. The topic will change each time the course is offered.

217.  Seminar: Studies in Classical Music. (4)   Course may be repeated for credit. Three hours of seminar per week. A highly specialized study in Classical music. The topic will change each time the course is offered.

218.  Seminar: Studies in Romantic Music. (4)   Course may be repeated for credit. Three hours of seminar per week. A highly specialized study in Romantic music. The topic will change each time the course is offered.

219.  Seminar: Jazz. (4)   Course may be repeated for credit. Three hours of seminar per week. A highly specialized study of Jazz. The topic will change each time the course is offered.

220.  Topics in Music History and Criticism. (4)   Course may be repeated for credit. Three hours of seminar per week. A specialized course in musical criticism. The topic will change each time the course is offered.

240.  Historical Readings in Ethnomusicology. (4)   Three hours of seminar per week. Formerly 230. Critical analysis of historical sources for ethnomusicological research and focus on the historical construction of the musical Other. Brinner, Guilbaut, Wade

241.  Readings in American Musical Cultures. (4)   Three hours of seminar per week. Formerly 231. Study of selected American musical cultures in relation to issues and theories pertinent to them.

242.  Ethnomusicology Analysis Seminar. (1)   Course may be repeated for credit. One hour of seminar per week. Prerequisites: Consent of instructor. Critique of published analyses and approaches to analysis in various musical traditions. Students present analyses based on their individual areas of specialization.

243.  Transcription and Analysis in Ethnomusicology. (4)   Three hours of seminar per week. Formerly 234. Methods and practice of transcription applied to selected musical practices in relation to specific analytical goals. Coursework includes use of software for sound analysis and notation.

244A.  Tools of Ethnomusicological Research. (4)   Three hours of seminar per week. Collection and organization of research data. Introduction to audio and video recording, photography, database design, interviewing, and writing fieldnotes.

244B.  Research Design for Ethnomusicologists. (4)   Three hours of seminar per week. Prerequisites: 244A or consent of instructor. Instruction in designing a doctoral research project, writing a dissertation prospectus, and formulating a grant proposal. Focus also on issues such as representation and ethics. Students will normally take this course one semester prior to presenting the prospectus for their doctoral dissertation.

246.  Theory and Method in Popular Music Studies. (4)   Three hours of seminar per week. Critical survey of the major issues raised and methodologies used in the study of popular music. Selected readings from a wide range of disciplines, including sociology, anthropology, musicology, ethnomusicology, communication, history, political science, economics, and music journalism.

247.  Topics in Ethnomusicology. (4)   Course may be repeated for credit. Three hours of seminar per week. Formerly 232. A highly specialized course in ethnomusicology. The topic will change each time the course is offered.

248A.  Topics in Asian Music. (4)   Course may be repeated for credit as topic varies. Three hours of seminar per week. Formerly 248. A highly specialized course focusing on aspects of music in Asia. The topic will change each time the course is offered.

249.  Interpretive Theories and Music. (4)   Course may be repeated for credit. Three hours of seminar per week. Readings on interpretive theories dealing with issues such as aesthetics, identity formation, and politics of representation, from the multiple disciplines informing the study of music. The selection of theoretical writings will change each time the course is offered.

250A.  Advanced Ethnomusicological Studies. (2-4)   Two to four hours of seminar per week. Forum for advanced work in students' areas of specialization, with particular emphasis on addressing the integration of musical analysis with theoretical issues. Students set specific goals with faculty and meet as needed individually and as a group. (F,SP)

290.  Colloquium. (1)   Course may be repeated for credit. About five meetings per semester. Must be taken on a satisfactory/unsatisfactory basis. Meetings for the presentation of original work by faculty, visiting lecturers, and advanced graduate students. Assigned readings. In rotation members of the class will be appointed as respondents for the papers.

296.  Directed Dissertation Research - Music. (1-12)   One to twelve hours of independent study per week. Must be taken on a satisfactory/unsatisfactory basis. Open to qualified students who have been advanced to candidacy for the Ph.D. and are directly engaged upon the doctoral dissertation. (F,SP) Staff

298.  Group Special Studies. (1-8)   Course may be repeated for credit. Meetings to be arranged according to units taken. Open to qualified students for research or creative work on a particular topic. Not to serve in lieu of regular courses of instruction. (F,SP)

299.  Special Study. (1-12)   Course may be repeated for credit. Meetings to be arranged according to units taken. Open to properly qualified graduate students for research or creative work, including work on the doctoral dissertation. Such work shall not serve in lieu of regular courses of instruction. (F,SP) Staff

601.  Individual Study for Master's Students. (1-8)   Course may be repeated for credit. Course does not satisfy unit or residence requirements for master's degree. Meetings to be arranged according to units taken. Must be taken on a satisfactory/unsatisfactory basis. Prerequisites: For candidates for master's degree. Preparation for the comprehensive or language requirements in consultation with the field adviser. (F,SP)

602.  Individual Study for Doctoral Students. (1-8)   Course may be repeated for credit. Course does not satisfy unit or residence requirements for doctoral degree. Meetings to be arranged according to units taken. Must be taken on a satisfactory/unsatisfactory basis. Prerequisites: For candidates for doctoral degree. Study in consultation with the major field adviser, intended to provide an opportunity for qualified students to prepare themselves for the various examinations required of candidates for the Ph.D. (F,SP)

Professional Courses

300.  Professional Preparation for Teaching Assistants in Music. (2-4)   Course may be repeated for credit. Meetings to be arranged according to units taken. Must be taken on a satisfactory/unsatisfactory basis. Special study under the direction of a staff member with emphasis on the teaching of undergraduate courses in music. (F,SP)

405.  Elementary Piano. (1)   Course may be repeated for credit. One hour of studio per week. Must be taken on a passed/not passed basis. Prerequisites: Restricted to music majors by audition. Two semesters are strongly recommended for music majors who lack the basic keyboard skills needed for musicianship and harmony classes. (F,SP) Staff

410.  Vocal Technique. (1)   Course may be repeated for credit. One hour of studio per week. Prerequisites: Restricted to music majors or those enrolled in the University Choruses and consent of instructor. Formerly 410A-B. A course in basic vocal techniques, primarily for students in the University Choruses, covering techniques of breathing, pronunciation, and articulation.