The foundational study of jazz theory and aural skills. Must be a BM student with a major in Jazz Studies or Commercial Music.
The foundational study of jazz theory and aural skills.
The foundational study of jazz theory and aural skills.
This course examines the short history of jazz and all its sub-styles (swing, bop, cool, etc.) from its roots to the early eighties. Students have access to the entire course online, including all the fantastic listening. Note: Music majors do not receive Common Curriculum credit for this course.
The "birth of rock" occurred in the mid 1950's as a result of the convergence of pop, country and western, and rhythm and blues. This course traces that evolution by way of examining a broad picture of the general flow of those styles and their artists. Note: Music majors do not receive Common Curriculum credit for this course.
In this course, students acquire a greater appreciation of musical history, context, composers, and genres. Through listening activities, texts, movies, and live concerts, students become educated listeners, able to describe intelligently musical experiences using appropriate vocabulary. Note: Music majors do not receive Common Curriculum credit for this course.
American Popular Music combines the study of social and cultural history on the one hand with the analytical study of music styles on the other. Basically, it serves as an introduction to the wealth of American popular music from minstrelsy to hip hop. This class is not available to music or performance majors.
Development of aural analysis skills in meter, mode, harmonic function and song forms through solfeggio, singing and dictation.
Development of aural analysis skills in meter, mode, harmonic function and song forms through solfeggio, singing and dictation.
Development of aural analysis in meter, mode, harmonic function and song forms through solfeggio, singing and dictation.
Fulfills concert attendance requirement for music majors in the Study Abroad program.
Progressive classes designed to meet the piano proficiency requirements for students majoring in music.
Progressive classes designed to meet the piano proficiency requirements for students majoring in music.
Progressive classes designed to meet the piano proficiency requirements for students majoring in music.
Individual study of Jazz performance techniques in a directed study environment.
Diction and international phonetic rules; singing technique for English/Italian stressing International Phonetic Alphabet, pronunciation, accent, word order, translation and poetic meter. English will last four weeks and Italian six weeks.
Diction and international phonetic rules; singing technique for German/French stressing International Phonetic Alphabet, pronunciation, accent, word order, translation and poetic meter. German will last five weeks and French five weeks.
Introduction to techniques of conducting; a basis and prerequisite for specialized courses in choral, orchestral, and wind conducting. Prerequisites: MUAC 1001, MUAC 1002, MUAC 1003, MUAC 1020, MUAC 1021, and MUAC 1022.
Dictation and sight singing of melodic, harmonic and contrapuntal examples from common practice period.
Dictation and sight singing of melodic, harmonic and contrapuntal examples from common practice period.
Dictation and sight singing of melodic, harmonic and contrapuntal examples from common practice period.
This course introduces students to "doing musicology." The theme is "beyond the boundaries": music is rarely neat and tidy; it defies the stereotypes, and it spills over its borders. To highlight this perspective, we focus on pieces that bring to the surface contemporary American society's code words for going beyond the boundaries: sex, drugs, and rock 'n' roll. Students develop two skills: articulating what they are hearing and connecting different approaches to understanding music (including musical style, musical structure, history, context, reception, historiography, performance practice, and music in and as culture). The course provides a rigorous background for all the following quarters of musicology coursework, which may include Western art music from the medieval period through the present, jazz and commercial musics, and musics from other cultures around the world. Prerequisite for music majors: MUAC 1002 or MUAC 1014.
Through the study of selected vocal and instrumental works, this course explores the musical style, performance practice issues and the historical context of Western European music from c. 800 to c. 1600. Scores, recordings, primary sources and secondary sources accompany the textbook. Because students interpret the musical works as they represent the ideas and artifacts of human culture and analyze the connections between these and varied human experiences and perceptions of the world, this course may be used to partially fulfill the general education requirement Analytical Inquiry: Society and Culture. Prerequisite for music majors: MUAC 2051.
Through the study of selected vocal, instrumental and operatic works, this course explores the musical style, performance practice issues and the historical context of Western European music from c. 1600 to c. 1750. Scores, recordings, primary sources and secondary sources accompany the textbook. Because students interpret the musical works as they represent the ideas and artifacts of human culture and analyze the connections between these and varied human experiences and perceptions of the world, this course may be used to partially fulfill the general education requirement Analytical Inquiry: Society and Culture. Prerequisite for music majors: MUAC 2051.
Through the study of selected vocal, instrumental and operatic works, this course explores the musical style, performance practice issues and the historical context of Western European music from c. 1750 to c. 1820. Scores, recordings, primary sources and secondary sources accompany the textbook. Because students interpret the musical works as they represent the ideas and artifacts of human culture and analyze the connections between these and varied human experiences and perceptions of the world, this course may be used to partially fulfill the general education requirement Analytical Inquiry: Society and Culture. Prerequisite for music majors: MUAC 2051.
Through the study of selected vocal and instrumental works, this course explores the musical style, performance practice issues and the historical context of Western European music from c. 1830 to c. 1890. Scores, recordings, primary sources and secondary sources accompany the textbook. Because students interpret the musical works as they represent the ideas and artifacts of human culture and analyze the connections between these and varied human experiences and perceptions of the world, this course may be used to partially fulfill the general education requirement Analytical Inquiry: Society and Culture. Prerequisite for music majors: MUAC 2051.
Through the study of selected vocal and instrumental works, this course explores the musical style, performance practice issues and the historical context of Western European music from c. 1890 to the present. Scores, recordings, primary sources and secondary sources accompany the textbook. Because students interpret the musical works as they represent the ideas and artifacts of human culture and analyze the connections between these and varied human experiences and perceptions of the world, this course may be used to partially fulfill the general education requirement Analytical Inquiry: Society and Culture. Prerequisite for music majors: MUAC 2051.
This course is designed as an introduction to select world music traditions and to ethnomusicology, a discipline many define as the study of music in culture. We focus on three world areas: North India, Brazil, and Senegal. For each of these units, we examine various genres and musical systems and explore music's connection to ritual, belief, aesthetic ideals, politics, and social organization, asking what makes music meaningful for practitioners and audiences. Lectures and discussions are supplemented by regular guest lecture-demonstrations, films and hands-on workshops. Because students interpret the musical works as they represent the ideas and artifacts of human culture and analyze the connections between these and varied human experiences and perceptions of the world, this course may be used to partially fulfill the general education requirement Analytical Inquiry: Society and Culture. Prerequisite for music majors: MUAC 2051.
Clinical training in audio recording and sound reinforcement for bachelor of music audio production concentration majors.
Individual study of jazz performance techniques in a directed study environment.
A survey of song literature, concentrating on the major 18th, 19th and 20th century composers.
Philosophy and psychology of teaching, basic skills in recognition of students' strengths and weaknesses, assessing musical and technical abilities, problem solving; in-class opportunities to teach followed by critical analysis; related readings, projects. Required for piano pedagogy majors.
Philosophy and psychology of teaching, basic skills in recognition of students' strengths and weaknesses, assessing musical and technical abilities, problem solving; in-class opportunities to teach followed by critical analysis; related readings, projects. Required for piano pedagogy majors.
Beginning course in choral conducting. Fall quarter only.
Discussions of and exercises in score study, interpretation, and techniques associated with orchestral conducting. Includes practical experience conducting orchestral repertoire. Prerequisite: MUAC 1920 Basic Conducting. Spring quarter only.
Beginning course in wind conducting. Winter quarter only.
Analysis of structural elements and stylistic features in solo, chamber and orchestral literature from 1600 to present. Prerequisite: MUAC 2006.
This course has two components: (1) A study of selected analytical techniques for post-tonal music, primarily pitch-class set theory and twelve-tone (serial) theory; (2) Analysis of representative works from the twentieth century, focusing on the music from the first half of the century (Schoenberg, Berg, Webern, Stravinsky, and Bartok). Six credits of Theory 2 or permission of instructor required.
Eighteenth-century counterpoint using J.S. Bach as a model, with two- and three-part fugue writing.
This course gives a general background, including the history of rhythm and meter, different rhythmic analyses, and various topics (dissonance, ambiguity, Schenker, motives, biology, and perception).
This course introduces students to various types of musical analysis for tonal music that are more advanced than what is introduced in first- and second-year music theory. Prerequisites: MUAC 2006 and MUAC 2022.
This course explores a variety of analytical techniques used to understand the compositions of Brahms. We examine works by musicologists and theorists such as Allen Forte, Walter, Frisch, Arnold Schoenberg, Carl Schachter, and David Lewin. Issues discussed include developing variations, rhythm, form, and ambiguity in Brahms. We cover a wide range of repertoire, ranging from piano works to choral works to symphonies.
A hands-on introduction to recording popular music in the state of the art Lamont Recording Studio. Students will participate in pre-production and recording of a professional four piece rock band. Students will also learn basic audio theory as it applies to the use of microphones, signal processing, and other studio equipment. Topics to be covered include drum sounds, guitar and bass sounds, basic audio theory and acoustics, basic electricity, digital recording, microphones and DI's, signal routing in the studio, tracking with ProTools HD and Logic Pro7, equalization, dynamics, reverberation and delay, special effects, mixing to stereo.
This course covers theory in audio engineering and provides hands-on training in professional audio engineering for studio sessions and live events. Students receive classroom instruction as well as on-site training at Lamont School of Music performances. This is the second sequence in the audio production concentration.
This course covers theory in audio engineering and provides hands-on training in professional audio engineering for studio sessions and live events. Students receive classroom instruction as well as on-site training at Lamont School of Music performances. This is the first sequence in the audio production concentration.
Under the supervision and guidance of the director of orchestral studies, students will gain hands-on, actual experience with many of the non-musical tasks that conductors face. These experiences will include managing orchestra personnel, librarian activities, running auditions, and recruiting. Open only to Artist Diploma in orchestral conducting students.
An introduction to analog and digital synthesis, MIDI sequencing, and DAW software.
This course covers theory in audio engineering and provides hands-on training in professional audio engineering for studio sessions and live events. Students receive classroom instruction as well as on-site training at Lamont School of Music performances. This is the third sequence in the audio production concentration.
This course covers theory in audio engineering and provides hands-on training in professional audio engineering for studio sessions and live events. Students receive classroom instruction as well as on site training at Lamont School of Music performances. This is the fourth sequence in the audio production concentration.
This course is an advanced seminar wherein students propose and execute complex, professional level audio production projects toward the goal of establishing a professional audio production portfolio. Students may also incorporate pre-production work in preparation for the audio production concentration senior project. Students serve as engineers and producers at Lamont School of Music recording sessions and live performances.
To obtain the skills and knowledge necessary for creating your own professional music CD or demo. You will learn the step-by-step process of selecting songs, recording, mastering, manufacturing, and financing your own CD. Furthermore, you will also learn basics about visual presentation using computer graphics (i.e., CD cover, liner notes with lyrics, copyright, bar codes, etc.) and how to market your CD on the internet and in your local area.
To obtain skills and knowledge necessary for writing your own songs. You will learn the step-by-step process of songwriting which includes how to write lyrics, compose melodies and chord progressions, and most importantly, how to combine those two elements to create a "hook." Furthermore, you will also learn common song forms, how to write lead sheets and how to make your song a complete arrangement using vocals, horns, and rhythm section.
A personal and clinical approach to developing music business skills and strategies.
The exploration of period styles in theatrical and historical genres will be introduced to broaden the singer/actor's repertoire of physical gesture and comedic forms of stage movement. The focus of the course will include studies in rhythm, timing, pacing, musicality and lyricism as these elements apply to heightened expressivity within scene work, character development and ensemble performance. Considerable time will be devoted to the physical practice of related skills as preparation and facilitation of performance projects that will serve as an opportunity for peer observation, group discussion and commentary, and student assessment.
An introduction to fundamental body awareness principles in relationship to physical performance skills for vocal performance majors. Methods for heightening kinesthetic awareness will be learned in the form of movement explorations, improvisations, structures, and learned phrases to gain somatic insight into the performer's sense of verticality in all places and dimensions of space. The concepts of the body in motion will be a primary context and focus for the progression of studies or 'etudes,' and for the reflective and analytical processes that include observation, journaling, discussion and peer commentary. Studio activities in solo, partnering, and group work will further the student's knowledge of how to become more responsive, expressive, and communicative when interacting with the surrounding environment and with others. Integrated with the body-mind practice and theoretical study, students will be encouraged to inquire, examine and articulate possible philosophies regarding why the mastery of the performer's physical body requires an essential sense of discipline that is cultivated in the performing arts, and how the somatic practices being investigated can serve his/her performance presence and support one's vocal training and health for the long-term.
Practical application of harmonic (written and aural) materials of 18th, 19th, early 20th centuries. Creative projects and harmonic analysis required. Summer session only.
Composition Seminar focuses on the reading and performance of modern scores by Lamont and recognized composers. Any student composing music or wishing to perform new compositions at Lamont may register and participate. Requirements for composers include the completion, rehearsal and performance of a piece of music at the New Music Ensemble concert each quarter. Non-composers are required to rehearse and perform at the New Music Ensemble concert. Composers enrolled in the ensemble may be required to play compositions submitted as well.
Through the close study of particular twentieth-century operas and musicals, this course will consider such issues as opera and film, musicals as a business, feminist criticism of opera librettos, the personal politics of opera. In addition to assigned excerpts, students will view three complete works during the quarter. Primary and secondary source readings will serve as the texts for the course.
A historical overview of the American Broadway musical, performance technique, audition preparation and repertoire. Must be prepared to sing and perform.
The fluid singing of recitative in German, English, Italian and French will be explored and practiced in this class. Students will harmonically analyze examples, add ornamentation, and perform recitative with a knowledge of the translation and emotional content.
This 30-hour workshop presents the keyboard method for groups of young beginners ages 5-9.
This 30-hour workshop presents the method for a sequential two-year program that guides the musical development of children ages 4-7. Different world cultures are celebrated through music, songs, dances, stories, and rituals.
Psychological and physical aspects of teaching of singing.
Psychological and physical aspects of teaching of singing.
An advanced study of the science behind the singing voice, including the biomechanics of phonation, identifying systems and changes in the voice, posture and breathing that impact phonation, and a physiologic approach to vocal exercises in preparation for teaching voice. Prerequisite: MUAC 3242.
Comprehensive study of Suzuki philosophy, repertoire and teaching techniques for violin. Offered fall, winter, and spring quarters. May be repeated for credit.
Comprehensive study of Suzuki philosophy, repertoire and teaching techniques for violin. Offered fall, winter, and spring quarters. May be repeated for credit.
Comprehensive study of Suzuki philosophy, repertoire and teaching techniques for violin. Offered fall, winter, and spring quarters. May be repeated for credit.
This seminar course surveys the history of opera from the invention of the genre c. 1600 to the present day. In addition to assigned excerpts, students view three complete operas during the quarter. Primary and secondary source readings supplement the required text and class lectures. Students write a research paper that may examine some aspect of a particular opera or that may compare a particular aspect found in several operas. With the prior consent of the instructor, students may submit an alternative final project, one that combines performance with some form of written work.
We explore a number of topics involved in the study of popular music, including tensions between analytical and cultural approaches; issues of race, class, and gender; and constructions of authenticity and personae. Listening and reading are wide-ranging, encompassing diverse styles. The course concludes with individual research projects and presentations on topics students choose and develop.
How does music affect religious experience and how does religion shape musical practice? Why is music vital in some religious rituals and expressly banned in others? If humans use music to create, reflect, and comment upon the worlds they experience and imagine, then the use of music in religious practice is among its most powerful and ephemeral. Students are introduced to a wide range of musical traditions and their relationship to many of the world's religions, including Islam, Judaism, Christianity, Buddhism, Hinduism, Native American belief and the religious practices of Africa and its diaspora. Readings, lectures and discussions are supplemented by guest lecture demonstrations, film/video screenings and hands-on workshops. Prerequisite: Junior or senior standing required; sophomores allowed with instructor approval.
This course introduces issues that motivate ethnomusicological research and techniques for carrying out fieldwork, the ethnographic method which has largely come to define the discipline. Our primary texts include Bruno Nettl's classic text, The Study of Ethnomusicology, and Shadows in the Field, a seminal volume of essays discussing ethnomusicological fieldwork. This course also involves hands-on experience in some of the major fieldwork techniques, including field observation and writing fieldnotes, musical transcription and interviewing. This course culminates in a field research project in a Denver musical community determined in consultation with the professor. Note: this course is not open to freshman; sophomores with permission of instructor.
This course serves as an introduction to a diverse array of performance traditions from the South Asian subcontinent. We examine the significance of music and dance in everyday life, the influence of media technology, and the relationship of performance to issues such as caste, gender, nationalism and globalization. Class discussions are supplemented by guest lectures, hands-on workshops and film screenings. Our study of music outweighs that of dance, and a music background is strongly encouraged. This course is not open to first-year students. Sophomores allowed with instructor approval.
This course focuses on particular musicology topics determined by the instructor. Course materials may include primary and secondary source readings, theoretical writings from other disciplines, a variety of listening assignments, film/video screenings, guest lecture demonstrations, and hands-on workshops. Students are expected to participate in class discussions and may be asked to write short response papers and/or to give short oral presentations. The course concludes with individual research projects, presented orally and in written form, on topics chosen and developed in consultation with the instructor. Expectations for graduate students enrolled in the course are commensurate with their training and background as compared to undergraduates enrolled in the course. In some cases, with the prior consent of the instructor, students may choose to combine performance with the final research project. Prerequisite: Junior standing.
How are concepts of "maleness," "femaleness" and other gendered categories constructed, maintained, and contested through musical performance? This course examines the issues explored and debated in recent studies of gender relation to music of various cultures including Western art music, popular music, and other world genres. We focus on reading and discussion of ethno-musicological and anthropological ethnographies, musicological studies focusing on gender and theoretical writings from gender and women's studies. Lectures and discussions are supplemented by guest lecture-demonstrations, film/video screenings and hands-on workshops. This course is not open to freshman. Sophomores can register with instructor approval.
We explore Gustav Mahler's life, historical context, and music, all in relation to one another. The focus is on recent and important scholarly approaches to this conductor and composer. The course concludes with individual research projects and presentations on topics students choose and develop.
We explore Richard Wagner's music dramas, particularly the Ring operas, as well as theories and ideologies surrounding them. The focus is on recent and important scholarly approaches. The course concludes with individual research projects and presentations on topics students choose and develop.
Through the study of selected Baroque instrumental, vocal and operatic works, this seminar course considers various approaches to performance practice issues such as "authenticity," the "historically informed" performance, period instruments, ornamentation, continuo realization, and editing. Facsimile editions and primary and secondary source readings serve as the texts for the course. Students write a research paper that examines some aspect of Baroque music with an emphasis on performance practice. With the prior consent of the instructor, students may submit an alternative final project, one that combines performance with some form of written work.
How have African music-cultures changed in their transitions to new lands? What performative Africanisms have been retained, reconstructed and/or highlighted in the aftermath of legal slavery? And within newer Afro-diasporic communities? What role does musical transmission play in cultural retention and survival? This course will explore the connections and differences in musical practice and worldview throughout the African diaspora. We focus primarily on on music-cultures of North, South, and Central America, and the Caribbean, examining traditional forms of music and dance associated with religion and ritual such as Afro-Cuban bata drumming, practices which fuse music and movement such as Afro-Brazilian capoeira, jazz, and popular musics such as rap. Lectures and class discussions are supplemented by guest lecture-demonstrations, film/video screenings and hands-on workshops. This course is not open to freshman. Sophomores with permission of instructor.
Cultural context, stylistic sources, stylistic development, meaning, and performance issues with regard to Mozart's 30 works in the piano concerto genre. Principles for the creation of stylistic cadenzas, lean-ins, embellishments, "white-spot" fill-ins, and basso continuo realizations. Considerations of means for integration aspects of the concertos' original cultural context into performance for twenty-first-century pianists, orchestral players, and their listeners. Course is designed for both pianists and non-pianists and can be taken by graduate students and upper-division undergraduate students.
Cultural context, stylistic sources, stylistic development, meaning, and performance issues with regard to Beethoven's works in the piano concerto genre, including the triple concerto and the choral fantasia with piano. Consideration of means of integrating aspects of the concertos' original cultural context into performance for twenty-first-century pianists, orchestral players, and their listeners. Course is designated for both pianists and non-pianists and can be taken by graduate students and upper-division undergraduate students.
Cultural context, stylistic sources, stylistic development, meaning, and performance issues with regard to Franz Peter Schubert's works in the piano sonata genre - whether for two or four hands - and other closely related genres. Consideration of means for integrating aspects of the works' original cultural context into performance for 21st-Century pianists and their listeners. Course is designed for both pianists and non-pianists and can be taken by graduate students and upper-division undergraduate students.
With a view to identifying the various interdisciplinary factors that led to the making of romantic music, this seminar course focuses on musical life in Paris and Leipzig in the 1830s. Specific attention is paid to the music of Chopin, Berlioz, Mendelssohn, and Robert and Clara Schumann and the personal and musical connections between these composers. Primary and secondary source readings serve as the texts for the course. Students write a research paper that examines some aspect of music and/or musical life in the 1830s. With the prior consent of the instructor, students may submit an alternative final project, one that combines performance with some form of written work.
Music of Bach, including chronological development, form and style, studied against background of baroque musical practice and circumstances of Bach's life and temperament. Prerequisites: MUAC 1621, 1622 and 1623.
Advanced composition with students composing works of large scope and using a variety of advanced techniques consistent with interests and abilities; emphasis on imagination and originality of personal expression.
Advanced composition with students composing works of large scope and using a variety of advanced techniques consistent with interests and abilities; emphasis on imagination and originality of personal expression. May be taken more than once for credit. Prerequisite: MUAC 3020.
This course traces the history of rock from the Beatles in the early 60's to the most recent developments of the 90's. The course provides a concise overview of this most influential musical phenomenon. Designed for the non-music major, it requires no prerequisites. Classes consist of lectures and listening. All listening examples are available via computer to each student.
This course will explore excerpts from the standard orchestral literature, highlighting favorite audition materials of the major symphony orchestras. Students will be given a list of excerpts and coached on how to prepare them. They will participate in mock auditions and receive feedback. This course will also address the mental aspects involved in taking successful auditions and the expectations demanded of them in the professional world of orchestras.
This course will explore excerpts from the standard orchestral literature, highlighting favorite audition materials of the major symphony orchestras. Students will be given a list of excerpts and coached on how to prepare them. They will participate in mock audition and receive feedback. This course will also address the mental aspects involved in taking successful auditions and the expectations demanded of them in the professional world of orchestras.
This course will explore excerpts from the standard orchestral literature, highlighting favorite audition materials of the major symphony orchestras. Students will be given a list of excerpts and coached on how to prepare them. They will participate in mock auditions and receive feedback. This course will also address the mental aspects involved in taking successful auditions and the expectations demanded of them in the professional world of orchestras.
This course explores excerpts from the standard orchestral literature, highlighting favorite audition materials of the major symphony orchestras. Students are given a list of excerpts and coached on how to prepare them. They participate in mock auditions and receive feedback. This course also addresses the mental aspects involved in taking successful auditions and the expectations demanded of them in the professional world of orchestras.
Study of orchestral literature brass players are likely to be asked to play at auditions for professional orchestras. Undergraduate participants should have passed their Sophomore Proficiency jury with distinction.
Companion course to Orchestral Excerpts Viola I, this section expands the repertoire list beyond the standard works used for auditions today. In addition to further honing basic requisite material from section I, students study and prepare less frequently required works and principle viola solo repertoire. There is more extensive discussion of the audition process and mock auditions as a part of the course. While it is advised and preferable that students complete the first section of this course it is possible to take the course with the approval of the instructor.
We explore the history of the orchestra and orchestral literature from the baroque through modern eras, and examine a number of test cases in which conventional understanding has been challenged in recent years. The course concludes with individual research projects and presentations on topics students choose and develop.
Chamber music from baroque trio sonata to contemporary electronic works. Prerequisites: MUAC 1621, 1622 and 1623. Winter quarter only.
This course offers a study of Western choral literature from Gregorian chant to contemporary compositions. Research will focus on the evolution of styles and analysis of specific choral works of historical significance. Programming and performance practice considerations will also be addressed.
A survey of the evolution of signal bells into the musical instrument known as the carillon. This subject is often called "campanology." The history will be traced from the 16th century in the Low Countries through modern times in Europe, North America, Australia/New Zealand and Japan. Topics will include bell foundries, bell casting and tuning, bell chambers, playing actions, carillonneurs, carillon schools, carillon organizations, the use of the carillon in its various regions and basic carillon maintenance.
A survey of the music expressly produced for carillon from the earliest times through the present. Categories include automatic music (e.g., De Sany, Wyckaert, Eggert), the earliest compositions for manual play (Van den Gheyn and the Louvain manuscripts of the 18th century), and the 20th-century categories: Flemish, Dutch, French and North American. Mainstream publishers as well as incidental publications will be covered. The labs will focus on analysis through recordings and live performances by participants.
Teaching techniques and survey of literature and teaching materials for the tuba.
Teaching techniques and survey of literature and teaching materials for the tuba.
Teaching techniques and survey of literature and teaching materials for the tuba.
Teaching techniques and survey of literature and teaching materials for the horn.
Teaching techniques and survey of literature and teaching materials for the horn.
Teaching techniques and survey of literature and teaching materials for the horn.
An exploration of the physical and psychological elements that can lead to effective carillon teaching: technique, handling/pedaling ("fingering" on the piano), and developing an attitude that fosters successful performance.
Teaching techniques and survey of literature and teaching materials for the trombone.
Teaching techniques and survey of literature and teaching materials for the trombone.
Teaching techniques and survey of literature and teaching materials for the trombone.
Teaching techniques and survey of literature and teaching materials for percussion.
Teaching techniques and survey of literature and teaching materials for percussion.
Teaching techniques and survey of literature and teaching materials for percussion.
Teaching techniques and survey of literature and teaching materials for the guitar.
Teaching techniques and survey of literature and teaching materials for the viola.
Teaching techniques and survey of literature and teaching materials for the viola.
Teaching techniques and survey of literature and teaching materials for the cello.
Teaching techniques and survey of literature and teaching materials for the double bass.
Teaching techniques and survey of literature and teaching materials for the harp.
Teaching techniques and survey of literature and teaching materials for the harp.
Teaching techniques and survey of literature and teaching materials for the harp.
Teaching techniques and survey of literature and teaching materials for the organ.
Teaching techniques and survey of literature and teaching materials for the organ.
Teaching techniques and survey of literature and teaching materials for the organ.
Teaching techniques and survey of literature and teaching materials for the trumpet.
Teaching techniques and survey of literature and teaching materials for the trumpet.
Teaching techniques and survey of literature and teaching materials for the trumpet.
Teaching techniques and survey of literature and teaching materials for the flute.
Teaching techniques and survey of literature and teaching materials for the flute.
Teaching techniques and survey of literature and teaching materials for the flute.
Teaching techniques and survey of literature and teaching materials for the clarinet.
Teaching techniques and survey of literature and teaching materials for the clarinet.
Teaching techniques and survey of literature and teaching materials for the clarinet.
Teaching techniques and survey of literature and teaching materials for the saxophone.
Teaching techniques and survey of literature and teaching materials for the saxophone.
Teaching techniques and survey of literature and teaching materials for the saxophone.
Teaching techniques and survey of literature and teaching materials for the oboe.
Teaching techniques and survey of literature and teaching materials for the oboe.
Teaching techniques and survey of literature and teaching materials for the oboe.
Teaching techniques and survey of literature and teaching materials for the bassoon.
Teaching techniques and survey of literature and teaching materials for the bassoon.
Teaching techniques and survey of literature and teaching materials for the bassoon.
This 4-hour per week course will be divided into a lecture/seminar for two hours and performance practicum for two hours. Topics discussed and performed include orchestral playing, sight reading, practice, solo performance, jazz survival, ornamentation, transposition, and warm-up/maintenance routine.
Styles, periods and traditions of vocal repertoire from earliest music to contemporary compositions.
Styles, periods and traditions of vocal repertoire from earliest music to contemporary compositions.
Styles, periods and traditions of vocal repertoire from earliest music to contemporary compositions.
Performance and analysis.
Performance and analysis.
Performance and analysis.
This course offers an in-depth, three term sequence of the theory, forms and styles of commercial music composition. Prerequisite: Satisfactory completion of first- and second-year written and aural theory. Final projects include production of a "studio orchestra" piece and writing for a film, including MIDI and SMPTE technologies.
This course offers an in-depth, three term sequence of the theory, forms and styles of commercial music composition. Prerequisite: Satisfactory completion of first- and second-year written and aural theory. Final projects include production of a "studio orchestra" piece and writing for a film, including MIDI and SMPTE technologies.
This course offers an in-depth, three term sequence of the theory, forms and styles of commercial music composition. Prerequisite: Satisfactory completion of first- and second-year written and aural theory. Final projects include production of a "studio orchestra" piece and writing for a film, including MIDI and SMPTE technologies.
Writing for small and large jazz groups; accompaniment skills; writing for live performance versus writing for recorded performance. Prerequisite: MUAC 3830.
Writing for small and large jazz groups; accompaniment skills; writing for live performance versus writing for recorded performance. Prerequisite: MUAC 3830.
The study of jazz improvisation techniques and forms. Open to music majors or by instructor permission.
Improvisational styles of major jazz soloists studied through transcription and analysis of selected recorded jazz solos; scales and modes; rhythmic styles and devices; practice and development of individual student's improvisational technique. Prerequisites: MUAC 1011, MUAC 1012, MUAC 3830.
Improvisational styles of major jazz soloists studied through transcription and analysis of selected recorded jazz solos; scales and modes; rhythmic styles and devices; practice and development of individual student's improvisational technique. Prerequisites: MUAC 1011, MUAC 1012, MUAC 3830.
Techniques of instrumental scoring.
Intensive application of procedures involving dictation and sight singing. Two-, three-, four-voiced examples emphasized. Summer session only.
In this course, students will acquire advanced rhythmic, melodic, and harmonic aural skills, through a combination of listening exercises, sight singing, and performing on their own instruments. Material for study will include atonal melody and harmony, complex rhythmic patterns, advanced exercises in traditional tonal patterns, and performance issues. Prerequisite: MUAC 1002, 1021 or equivalent.
Conductors use their whole body to communicate and elicit successful performances from their ensemble. If you have unnecessary tension or lack of ease in your body, this is communicated unconsciously to your ensemble, hindering quality of performance. Additionally, physical tension can prevent your ability to communicate and think clearly under pressure. This course is an exploration of freedom of movement and the physicality of musical expression. Classes will include group activities in free-movement, dance, acting, keeping your cool, poise, balance, tension release, as well as hands-on instruction applying Alexander technique to your conducting.
Discussions of and exercises in score study, interpretation, and techniques associated with orchestral conducting. Includes practical experience conducting orchestral repertoire. Required of MM Conducting students with Choral or wind concentrations. Open to other students with permission of instructor. Prerequisite: Permission of instructor (not needed for MM Conducting students with Choral or Wind concentration). Fall quarter only.
Conducting complex choral works, including those with instrumental accompaniment; phrasing, interpretation and score reading. Prerequisite: MUAC 2940. Fall quarter only.
Conducting complex wind compositions; phrasing interpretation and score reading. Prerequisite: MUAC 2970. Spring quarter only.
This course is an overview of wind literature appropriate for junior high school, high school, college and professional programs including strategies in effective programming and creation of appropriate program notes.
An in-depth study of successful compositional techniques by prominent composers of wind literature. Prerequisite: MUAC 3973.
A three term sequence continuing the in-depth study of the theory, performance practices, style, and history of jazz improvisation and composition. Prerequisite: satisfactory completion of the three terms of Jazz Improvisation and Composition or consent of the instructor.
Internship in Music will offer opportunities for music majors to experience actual music related careers within a sponsoring music organization chosen by the student and accepted by the supervising faculty of the School of Music.
Problems of research in various chronological epochs of Western musical culture; research techniques and sources used in research; formal writing style.
Materials, devices, techniques of teaching theory.
Foundations in measurement and evaluation of musical behaviors and understanding, using, designing primary research projects in music education.
Bibliographical survey of materials related to particular repertoire chosen by student for MA recital in preparation for major written project at end of year.
Bibliographical survey of materials related to particular repertoire chosen by student for MA recital in preparation for major written project at end of year.
Bibliographical survey of materials related to particular repertoire chosen by student for MA recital in preparation for major written project at end of year.
Students in this course deepen their understanding of musical styles and techniques by composing works that imitate major composers before 1900. Music by each student is performed in a final recital. Prerequisite: Tonal Counterpoint, equivalent coursework from another institution, or permission of instructor.
Individual study of jazz performance techniques in a directed study environment.
This course is designed to help refine the diction skills of graduate students in voice, with an emphasis on Italian, French and German. Native speakers will be presented, and the student will learn some basic vocabulary and syntactical aspects of the language.
A seminar focusing on a major figure of jazz history. Detailed examination of a single artist, their life, music and influences.
We explore a number of case studies in which "conventional wisdom" about a composer, repertory, or a period of time turns out to be not universally "true," but instead contingent on cultural context and changing ideologies about music. The course concludes with individual research projects and presentations on topics students choose and develop.
This course explores the melodic system (raga) and rhythmic system (tala) of Hindustani music, the classical music of North India. These conceptual frameworks act both as sound structures to be realized in improvised performance and as aesthetic entities manifested in the related traditions of dance, iconography, and film. A major emphasis of this course will be developing an understanding of raga and tala as musical structures through intensive listening as well as practical instruction. Accordingly, one class each week is designed to incorporate hands-on music-making through singing, rhythmic exercises, and dance. By the end of the quarter, students will become familiar with several ragas and talas and the stages by which they are developed in performance. A second, equally important objective is to learn to appreciate ragas as aesthetic entities. We will analyze their musical characteristics as well as the "extra-musical" characteristics of sentiment (rasa), performance time and/or season and iconographic associations (ragamala painting).
This course will explore aspects of Baroque opera not immediately conveyed by a score - including staging, gesture, scenic design, machinery, theater space, performers response - as they inform our understanding of specific Baroque operas and the cultural context within which they were performed. We will focus on operas by Monteverdi, Cavalli, Purcell, Handel, Lully, Campra and Rameau, among others. Students should expect to participate in class discussions, to write short response papers, to give short oral presentations, and to write a 12 to 15 page paper that examines a Baroque opera or operas in the light of one or more performance considerations. With the prior consent of the instructor, students may submit an alternative final project, one which combines performance with some form of written work.
Literature in musical aesthetics, educational philosophy, psychology; curriculum development; group teaching processes; interpretation and technique; foundations of educational research in music; practice teaching of children and adults.
Literature in musical aesthetics, educational philosophy, psychology; curriculum development; group teaching processes; interpretation and technique; foundations of educational research in music; practice teaching of children and adults.
Literature in musical aesthetics, educational philosophy, psychology; curriculum development; group teaching processes; interpretation and technique; foundations of educational research in music; practice teaching of children and adults.
Study of teaching techniques, survey of literature and teaching materials from the 20th and 21st centuries. Prerequisite: MUAC 3740.
Guided observations, lesson planning, practice teaching of students of various developmental age groups using foundations and principles developed in Piano Pedagogy.
Guided observations, lesson planning, practice teaching of students of various developmental age groups using foundations and principles developed in Piano Pedagogy.
Guided observations, lesson planning, practice teaching of students of various developmental age groups using foundations and principles developed in Piano Pedagogy.
Designing piano-centered music education offerings for preschool-aged children. Prerequisites: MUAC 4831,4832, 4833 or equivalent.
Designing piano-centered music education offerings at elementary level for school-aged children. Prerequisites: 4831, 4832, 4833 or equivalent.
Designing piano-centered music education offerings, including college/university courses, for beginning- and intermediate-level adults. Prerequisites: MUAC 4831, 4832, 4833 or equivalent.
Designing advanced piano instruction for adolescents and adults. Prerequisites: MUAC 4831, 4832, 4833 or equivalent.
Individual instruction in all areas of music theory with regularly scheduled meetings allowing students to acquire necessary skills to qualify for upper-division and/or graduate courses. Summer session only.
Private tutorial in orchestral conducting. Open to Orchestral Conducting majors only.
A comprehensive investigation of the art and science of choral music instruction. Students us philosophical and theoretical learning to develop a practical approach to choral music instruction. Students identify personal strengths in the area of choral music instruction as well as areas for improvement.