E-mail address: guerrero@music.ucsb.edu
Website: www.music.ucsb.edu (will open in a new browser window)

Department Chair: Lee Rothfarb

Faculty

Charles Asche, D.M.A., University of Texas at Austin, Lecturer (piano, chamber music)

Paul Bambach, M.M., University of Cincinnati, Lecturer (clarinet, wind ensemble)

Michael Beckerman, Ph.D., Columbia University, Professor (19th-century music, Eastern European music)

Paul Berkowitz, Diploma, Curtis Institute of Music, Philadelphia, Professor (piano, chamber music)

William Booth, M.M., Catholic University, Lecturer (trombone, tuba, euphonium)

Anne Epperson, M.A. Louisiana State University, Baton Rouge, Professor (piano)

Cornelia Fales, Ph.D., Indiana University, Assistant Professor (ethnomusicology)

Joel S. Feigin, D.M.A., Juilliard School of Music, Associate Professor (composition)

Jill Felber, M.M., Bowling Green University, Professor (flute)

Michel Marc Gervais, B.M., University of Alberta, Professor (choral conducting, choir)

Steven Gross, D.M.A., University of Cincinnati, Associate Professor (french horn)

Jeremy Haladyna, Ph.D., UC Santa Barbara, Lecturer (orchestration, ensemble for contemporary music)

Patricia Hall, Ph.D., Yale University, Associate Professor (theory, 20th-century music)

Dolores M. Hsu, Ph.D., University of Southern California, Professor (19th-century music, music criticism, ethnomusicology)

Michael Ingham, M.A., Denver University, Professor (voice)

William Kraft, M.A., Columbia University, Professor (composition)

JoAnn Kuchera-Morin, Ph.D., University of Rochester, Eastman School of Music, Professor (electronic and computer-generated music)

Scott Marcus, Ph.D., UC Los Angeles, Associate Professor (ethnomusicology)

Elizabeth Mosher, M.M., University of Southern California, Professor (voice)

Betty Oberacker, D.M.A., Ohio State University, Professor (piano, chamber music)

William Prizer, Ph.D., University of North Carolina, Professor (renaissance and early baroque music, Collegium Musicum)

Lee Rothfarb, Ph.D., Yale University, Associate Professor (theory)

Geoffrey B. Rutkowski, M.M., University of Southern California, Professor (cello, chamber music)

Pieter van den Toorn, Ph.D., UC Berkeley, Professor (theory, 20th-century music)

Yuval Yaron, Artistic Diploma, Indiana University, Bloomington, Professor (violin)

Emeriti Faculty

Emma Lou Diemer, Ph.D., Eastman School of Music, Professor Emerita (composition)

Robert N. Freeman, Ph.D., UC Los Angeles, Professor Emeritus (classical music)

John Gillespie, Ph.D., University of Southern California, Professor Emeritus (American music)

Elizabeth Mannion, B.A., University of Washington, Professor Emerita (voice)

Alejandro Planchart, Ph.D., Harvard University, Professor Emeritus (medieval and renaissance music, Collegium Musicum)

Clayton Wilson, M.M., Northwestern University, Professor Emeritus (oboe)

Carl Zytowski, M.A., University of Washington, Professor Emeritus (choir)

Affiliated Faculty

Dwight F. Reynolds, Ph.D. (Religious Studies)

The graduate program includes courses leading to the master of arts degree and the doctor of philosophy degree in composition, ethnomusicology, musicology, and theory. The master of music degree and the doctor of musical arts degree in musical performance are designed to provide graduate and professional training in the intellectual, practical, and professional skills increasingly demanded of performers in this century.

Undergraduate Program

Performance ensembles are available for all qualified students, and a wide range of undergraduate courses is offered for nonmajors. Information regarding various cash prizes and awards that are offered each year to outstanding students enrolled in composition, ethnomusicology, musicology, performance or theory is available at the Department of Music office.

After completing specific prerequisites, students with a bachelor's degree in music are eligible to pursue a California Teaching Credential. Interested students should discuss their plans as soon as possible with the credential advisor in the Graduate School of Education.

All new music majors are required to take placement tests in musicianship and music theory, and placement auditions in class piano (except for students who have had no background whatsoever in piano; they should enroll in Music 31A). These are given only during pre-instructional days at the beginning of each quarter, and should be taken prior to enrollment in music classes. All students wishing to take performance classes must pass an audition for the appropriate class. Auditions for performance classes should be taken preferably at the entrance auditions before admission (particularly if a bachelor of music performance concentration is being consideredsee below), or during pre-instructional days at the beginning of each quarter. An initial consultation with the departmental undergraduate staff advisor is mandatory before embarking on any of the following courses of study. The department also requires that music majors meet at least once each year with their major faculty advisor to help in the planning of course selection and to assure that adequate progress is being made toward the degree.

The departmental Recital Attendance requirement must be met each quarter a student is enrolled, up to normative time (twelve quarters).

All auditions (including recital auditions), composition portfolios and papers required for both music major degrees and all emphases must be reviewed by the faculty area committee appropriate to the B.M. emphasis or B.A. project, and approved by at least two members of the committee, as signed on forms provided by the music undergraduate advisor.

A grade of at least a C- is required from placement point onwards in all courses in the Music 4A-F, 5A-F, and 31A-F sequences in order to proceed to the next course in each sequence and to complete each sequence. (Course F must also be completed with a grade of C- or better). All upper-division music courses that require any course in the Music 4A-F sequence and/or any course in the Music 5A-F sequence as prerequisites requires that these prerequisites be passed with a grade of C- or better, or that the student have been placed into a higher course in the sequence or out of the sequence entirely in the placement tests conducted by the Department of Music. All students must achieve a grade-point average of at least 2.0 in all courses for the overall major program, both lower- and upper-division, and in all courses required for the upper-division major program. Students must also achieve an overall grade-point average of at least 2.0 in order to qualify for graduation. Students transferring from other institutions must complete at least three quarters within the department.

Majors and non-majors admitted to individual performance classes Music 25-33 and 125-133 (all of which are by audition and require the consent of department and instructor) may be required to participate in orchestra, wind ensemble, choir, or another ensemble, as appropriate, in quarters in which they are enrolled in such performance classes.

Honors Program in Music (Distinction in the Major)

The senior honors program in the Department of Music encourages seniors to excel in music and to undertake projects beyond the normal requirements, and provides a means of recognizing outstanding achievement. Only music majors (B.A. or B.M.) with a cumulative grade-point average of at least 3.5 at the end of the junior year or at the time of applying for selection during senior year and who are recommended by a faculty member may be selected for the departmental honors program in music. Students selected must enroll for unit credit in Music 196 (Honors Project) and in either Music 192 (B.A. Senior Project), Music 197 (B.M. Senior Recital), or Music 197B (B.M. Senior Composition Portfolio and Recital), as applicable. "Distinction in the Major" will be awarded if a final cumulative grade-point average of at least 3.5 is maintained and both a grade of at least A- in Music 196 and a grade of at least A- in Music 192, 197, or 197B are achieved, as assessed by both the instructor(s) of the two courses and by one other faculty member.

Bachelor of Arts--Music

Students pursuing the bachelor of arts in music must meet the General Education requirements for the bachelor of arts degree set by the College of Letters and Science. The following courses may be taken for 1-2 units in the major per quarter by B.A. music students: Music 25, 26A-E, 27A-D, 28A-E, 29, 33, 108, 125, 126A-E, 127A-D, 128A-E, 129, and 133. The upper-division courses in this list may only be taken after passing the appropriate sophomore audition or composition portfolio. Any such courses improperly enrolled in may not be applied to the upper-division major. A grade of at least a C- is required from placement point onwards in all courses in the Music 4A-F, 5A-F, and 31A-F sequences in order to proceed to the next course in each sequence and to complete each sequence. (Course F must also be completed with a grade of C- or better). All upper-division music courses that require any course in the Music 4A-F sequence and/or any course in the Music 5A-F sequence as prerequisites requires that these prerequisites be passed with a grade of C- or better, or that the student have been placed into a higher course in the sequence or out of the sequence entirely in the placement tests conducted by the Department of Music.

Preparation for the major: Music 4A-B-C-D-E-F (placement determined by exam); 5A-B-C-D-E-F (placement determined by exam); piano proficiency required either by successful completion of a piano proficiency audition or by completing Music 31 (placement determined by audition); completion of sixth quarter or its equivalent in (level 6 proficiency) French, German, or Italian or completion of third quarter or its equivalent (level 3 proficiency) in two of the following languages: French, German, Italian (the attainment of level 6 proficiency in one language is strongly recommended, particularly for students intending to pursue graduate studies in musicology or music theory); six courses (at 1-2 units per quarter) from 20-33 (6-12 units); six courses from Music A34-A70; successful completion of the sophomore project (audition, composition, or paper).

Upper-division major. Forty-eight upper-division units required: Music 102 or 103; 112A-B-C-D-E-F; 160A-B-C; one course from 175A-J or 176; 3 units from 160D-187; three courses from A134-A170; 9 units of upper-division music electives (Music 108, 125, 126A-E, 127A-D, 128A-E, 129, and 133 may be taken for 1-2 units credit in the major, and only if the appropriate sophomore audition or composition portfolio has been passed); successful completion of the senior project (audition, composition, or paper). All students enrolled in applied instruction in an orchestral instrument are required to elect orchestra (A42/A142) if their participation is needed. All students enrolled in applied vocal instruction are required to elect a choir (A36/A136, A37/A137, or A48/A148) if their participation is needed.

Ethnomusicology Emphasis

Preparation for the major: Music 4A-B-C-D-E-F (placement determined by exam); 5A-B-C-D-E-F (placement determined by exam); piano proficiency, demonstrated either by successful completion of a piano proficiency audition or by completing Music 31 (placement determined by audition); completion of sixth quarter or its equivalent (level 6 proficiency) in French, German, or Italian or another language by petition or completion of third quarter or its equivalent (level 3 proficiency) in two of French, German, Italian, or other languages by petition (the attainment of level 6 proficiency in one language is strongly recommended, particularly for students intending to pursue graduate studies in ethnomusicology); six courses (at 1-2 units per quarter) from Music 20-33 (6-12 units); six courses from A34-A70; successful completion of the sophomore project.

Upper-division major. Forty-eight upper-division units required: Music 169; three courses from 112A-B-C-D-E-F; 160A-F; three courses from 175A-K; 176; three courses from 104, 105, 168A-G; three courses from A134-A170; 6 units of upper-division music electives (Music 108, 125, 126A-E, 127A-D, 128A-E, 129, and 133 may be taken for 1-2 units credit in the major, and only if the appropriate sophomore audition or composition portfolio has been passed); successful completion of the senior project. All students enrolled in applied instruction in an orchestral instrument are required to elect orchestra (A42/A142) if their participation is needed. All students enrolled in applied vocal instruction are required to elect a choir (A36/A136, A37/A137, A48/A148, or A70/A170) if their participation is needed.

Bachelor of Music

The bachelor of music degree is open by audition to specially qualified students in performance and composition. Students seeking admission to a bachelor of music performance emphasis are required to pass an entrance audition in their desired emphasis (instrument or voice) in order to determine their eligibility. Entrance scholarships may be awarded to selected students demonstrating outstanding talent and proficiency at the entrance auditions. Information and dates of the entrance auditions may be obtained from the music program advisor in the Department of Music office. Students must meet the General Education Program requirements for the bachelor of music degree set by the College of Letters and Science. Completion of one (or more) of the following emphases will be noted on the student's official transcript, but will not appear on the diploma. For all emphases except guitar and voice, knowledge of German, French, or Italian to level three is highly recommended by the end of the sophomore year. Knowledge of Spanish to level three is highly recommended for the guitar emphasis. Knowledge of Italian to level three is required for the voice emphasis, along with knowledge of French or German to level three. Junior and senior recitals may not be given until the appropriate recital audition (or composition portfolio) has been reviewed by the faculty area committee appropriate to the emphasis and approved by at least two members of the committee, as signed on forms provided by the music undergraduate advisor. Except where specified in the description of requirements for individual B.M. emphases, the following courses may be taken for 1-2 units per quarter: Music 25, 26A-E, 27A-D, 28A-E, 29, 33, 108, 125, 126A-E, 127A-D, 128A-E, 129, and 133.

The upper-division courses in this list, whether applied to the B.M. emphasis or otherwise, may only be taken after passing the appropriate sophomore audition or composition portfolio. Any such courses improperly enrolled in may not be applied to the upper-division major. A grade of at least a C- is required from placement point onwards in all courses in the Music 4A-F, 5A-F, and 31A-F sequences in order to proceed to the next course in each sequence and to complete each sequence. (Course F must also be completed with a grade of C- or better). All upper-division music courses that require any course in the Music 4A-F sequence and/or any course in the Music 5A-F sequence as prerequisites requires that these prerequisites be passed with a grade of C- or better, or that the student have been placed into a higher course in the sequence or out of the sequence entirely in the placement tests conducted by the Department of Music.

Accompanying Emphasis

Preparation for the major. Music 4A-B-C-D-E-F (placement determined by exam); 5A-B-C-D-E-F (placement determined by exam); six quarters (at 3 units per quarter) of 33 (18 units); three courses of A41; 35A-B-C; three courses from A34-A70; 17; successful completion of the freshman and sophomore auditions.

Upper-division major. Eighty-one upper-division units required: Music 112A-B-C-D-E-F; 160A-B; six quarters (at 4 units per quarter) of 133 (24 units); 135A-B-C-D-E-F; 3 units from 160C-D, 162-187 (will normally be met by the election of 178A or 178B); 120A or 120B; 161; three quarters of A144; two quarters of 150; three courses from A134-A170; successful completion of junior and senior recitals.

Bassoon, Cello, Clarinet, Double Bass, Flute, French Horn, Oboe, Percussion, Trombone, Trumpet, Tuba, Viola, and Violin Emphases

Preparation for the major. Music 4A-B-C-D-E-F (placement determined by exam); 5A-B-C-D-E-F (placement determined by exam); piano proficiency, demonstrated either by successful completion of a piano proficiency audition or by completing Music 31 (placement determined by audition); six quarters (at 3 units per quarter) of one of the following courses, as appropriate to the emphasis: Bassoon Emphasis: 27A; Cello Emphasis: 26B; Clarinet Emphasis: 27B; Double Bass Emphasis: 26A; Flute Emphasis: 27C; French Horn Emphasis: 28A; Oboe Emphasis: 27D; Percussion Emphasis: 29; Trombone Emphasis: 28B; Trumpet Emphasis: 28C; Tuba Emphasis: 28D; Viola Emphasis: 26D; Violin Emphasis: 26E (18 units); three courses from A40, A43, A44, A45, A46 and/or A49; six courses from A34 or A42 (cello, viola, and violin emphases: A42 only); 17; successful completion of the freshman and sophomore auditions.

Upper-division major. Seventy-one to seventy-seven upper-division units required: Music 112A-B-C-D-E-F; 160A-B; 120A; six quarters (at 4 units per quarter) of one of the following courses, as appropriate to the emphasis: Bassoon Emphasis: 127A; Cello Emphasis: 126B; Clarinet Emphasis: 127B; Double Bass Emphasis: 126A; Flute Emphasis: 127C; French Horn Emphasis: 128A; Oboe Emphasis: 127D; Percussion Emphasis: 129; Trombone Emphasis: 128B; Trumpet Emphasis: 128C; Tuba Emphasis: 128D; Viola Emphasis 126D; Violin Emphasis: 126E (24 units); 3 units from 160C-187 (will normally be met by the election of 178A or 178B); six courses from A140, A143, A144, A145, A146, and/or A149; six courses from A134 or A142 (cello, viola, and violin emphases: A142 only); six units of upper-division electives; successful completion of the junior and senior recitals. All students enrolled in applied instruction in an orchestral instrument are required to elect orchestra (A42/A142) if their participation is needed.

Composition Emphasis

Preparation for the major: Music 4A-B-C-D-E-F (placement determined by exam); 5A-B-C-D-E-F; piano proficiency, demonstrated either by successful completion of a piano proficiency audition or by completing Music 31 (placement determined by audition); three quarters of 8; three quarters of 88; 17; six courses (6-12 units) from 25, 26A-E, 27A-D, 28A-E, 29, 32A-F, 33 (or 22 by petition and audition); six courses from A34-A70; successful completion of freshman and sophomore composition portfolios.

Upper-division major. Seventy-three to seventy-four upper-division units required: Music 112A-B-C-D-E-F; 120A or B; six quarters (at 3 units per quarter) of 108 (18 units); 101A-B-C; 102; 103; 106A-B-C; 160A-B; 3 units from 160C-187; 109IA-B or 109LA-B-C or 109IA and 109LA; three courses from A134-A170; successful completion of the junior composition portfolio, and the senior composition portfolio and recital. All students enrolled in applied instruction in an orchestral instrument are required to elect orchestra (A42/A142) if their participation is needed. All students enrolled in applied vocal instruction are required to elect a choir (A36/A136, A37/A137, or A48/A148) if their participation is needed.

Guitar Emphasis

Preparation for the major: Music 4A-B-C-D-E-F (placement determined by exam); 5A-B-C-D-E-F (placement determined by exam); piano proficiency, demonstrated either by successful completion of a piano proficiency audition or by completing Music 31 (placement determined by audition); six quarters (at 3 units per quarter) of 26C (18 units); three quarters of A39; six courses from A34-A70 (except A39); 17; successful completion of the freshman and sophomore auditions.

Upper-division major. Seventy-one upper-division units required: Music 112A-B-C-D-E-F; 160A-B; six quarters (at 4 units per quarter) of 126C (24 units); three units from 160C-187; three quarters of A139; three courses from A134-A170 (except A139); two courses of A144; 155; 120A or B; 178A or 178B; three units of upper-division electives; successful completion of the junior and senior recitals.

Piano Emphasis

Preparation for the major. Music 4A-B-C-D-E-F (placement determined by exam); 5A-B-C-D-E-F (placement determined by exam); six quarters (at 3 units per quarter) of 33 (18 units); three courses of A41; 35A-B-C; three courses from A34-A70; 17; successful completion of the freshman and sophomore auditions.

Upper-division major. Seventy-four upper-division units required: Music 112A-B-C-D-E-F; 160A-B; six quarters (at 4 units per quarter) of 133 (24 units); 3 units from 160C-D, 162-187 (will normally be met by the election of 178A or 178B); 120A or B; 161; three courses from 135A-B-C and/or A144; three quarters of A144 (not applied above); three courses from A134-A170; upper-division music electives (3 units); successful completion of junior and senior recitals.

Voice Emphasis

Preparation for the major. Music 4A-B-C-D-E-F (placement determined by exam); 5A-B-C-D-E-F (placement determined by exam); piano proficiency, demonstrated either by successful completion of a piano proficiency audition or by completing Music 31 (placement determined by audition); Italian 1-2-3; German 1-2-3 or French 1-2-3; six quarters (at 3 units per quarter) of 25 (18 units); six courses from A36, A37, and/or A48; three quarters at A38 or A38P; 17; successful completion of the freshman and sophomore auditions.

Upper-division major. Seventy-three upper-division units required: Music 112A-B-C-D-E-F; 160A-B; 120B; six quarters (at 4 units per quarter) of 125 (24 units); 3 units from 160C-187 (will normally be met by the election of 178A or 178B); six courses from A136, A137, or A148; three quarters of A138 or A138P; three quarters of 150; 151; 158A-B-C-D; successful completion of junior and senior recitals. All students enrolled in applied vocal instruction are required to elect a choir (A36/A136, A37/A137, or A48/A148) if their participation is required.

Minor--Music

Students majoring in other disciplines are able to pursue an interest in music at a less intensive level than the major by completing a minor in music. The wide diversity of courses offered by the Department of Music is well-suited to cater to varied interests such as vocal or instrumental music study, composition, music history, music theory, and ethnomusicology (non-Western music). The minor consists of any 18 upper-division units in music, of which no more than 8 units may be courses designated as "not open to music majors" or "for the non-major" (Music 114, 115, 118A-Z) or from another department (4 units maximum), no more than 6 units may be performance courses (120-133) and no more than 6 units may be ensemble courses (A134-A170). The lower-division preparation prerequisites are Music 11 (4 units) which may be waived by placement examination, and either 15 or 17 (4 units), with 4A-B-C/5A-B-C (12 units) recommended for students interested in Westen music; but most upper-division courses, with the exception of ethnomusicology courses and a few others, have specific prerequisites which must be met. With the appropriate prerequisites or consent of instructor, all music courses, both those designated for the major and for the non-major, are open to students in the minor, but, as noted above, no more than 8 units of those designated for the non-major may be applied to the minor; i.e., at least 10 upper-division units must be in courses open to music majors.

The following courses may be taken for 1-2 units credit per quarter applied to the minor, and only after passing the appropriate audition or composition evaluation: Music 25, 26A-E, 27A-D, 28A-E, 29, 33, 108, 125, 126A-E, 127A-D, 128A-E, 129, and 133.

All upper-division courses to be applied to the minor must be completed on a letter-grade basis. This includes both courses offered in the Department of Music at UCSB and those offered by other departments and applied to the minor.

Preparation for the minor. Four to 8 units: Music 11 (which may be waived by placement examination only); and either 15 or 17. Variable units: All prerequisites for specific upper-division music courses, as specified in the General Catalog, or as waived by consent of instructor. Recommended for students interested in Western music: Music 4A-B-C/5A-B-C

Please note:

1. Upper-division music history courses require either Music 15 or 5C (and/or 112), or consent of instructor.

2. Upper-division ethnomusicology courses: no prerequisite (Music 17 recommended).

3. Upper-division music theory courses require Music 5E or 5F or consent of instructor.

4. Upper-division composition courses require Music 5E or 5F or consent of instructor.

5. All upper-division performance courses except Music 122 require the passing of the B.A. sophomore audition (each performance area has appropriate guidelines for this audition).

6. Upper-division ensembles (music performance laboratories) require only consent of instructor.

Upper-division minor. Eighteen upper-division units in music. No more than 8 units of courses designated as "not open to music majors" or "for the non-major" (Music 114, 115, 118A-Z), or from another department (4 units maximum), may be applied to the minor (i.e., 10 units must be in music courses open to music majors). No more than 6 units of performance courses 120-133 may be applied to the minor. No more than 6 units of ensemble courses A134-A170 may be applied to the minor.

The following courses may be taken for 1-2 units credit per quarter applied to the minor, and only after passing the appropriate audition or composition evaluation: Music 25, 26A-E, 27A-D, 28A-E, 29, 33, 108, 125, 126A-E, 127A-D, 128A-E, 129, and 133.

Note: Substitutions and waivers are subject to approval by the chair of the department. Please see"Academic Minors" for special conditions governing minors in the College of Letters and Science.

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Graduate Program

In addition to departmental requirements, candidates for graduate degrees must fulfill the university degree requirements found in the section "Graduate Education at UCSB." Graduate students in music are required to take at least 12 units per quarter. A minimum residency of six quarters, including composition, dissertation, or thesis, is mandatory. Units of Music 501, 502, 597, 598, and 599 do not count toward fulfillment of university requirements for the M.A., M.M., Ph.D., or D.M.A. degrees.

In addition to the requisite coursework, all sections of the placement guidance exams, taken upon entrance, must be passed or satisfied by taking approved coursework before advancement to candidacy. Demonstrated reading knowledge of the designated foreign language(s) is required by examination(s). The department requires that all graduate students meet each quarter, prior to final registration, with the designated faculty advisor in their area, and at the beginning of their last year of coursework with the department's graduate advisor.

The application deadline for financial support is December 15 for fall quarter admission. May 1 is the deadline for fall quarter admission for students not seeking financial support. Consult the department or graduate application for details.

Master of Arts--Music

Admission

Applicants will normally be expected to have a bachelor of arts degree in music from UCSB or a degree based on equivalent training. In addition to departmental requirements for admission, applicants must fulfill university requirements for admission to graduate status described in the section "Graduate Education at UCSB."

Degree Requirements--Composition Emphasis

Students must pass placement guidance examinations in the subject areas denoted by capital letters or successfully complete equivalent coursework before advancement to candidacy. All entering composition students are required to demonstrate proficiency in 18th-century counterpoint (fugue). This will be tested through an examination given when other guidance exams are administered (just prior to the start of fall quarter). Those who do not pass will satisfy those core proficiency by passing 212A, or by reexamination. Those who elect to pursue further fugal studies may do so by continuing the 212 series, offered in alternate years. Course numbers are shown in parentheses. THEORY: 16th-Century Motet (102); 18th-Century Fugue (212A); Figured Bass (5A-F); Tonal Analysis (160A); 20th-Century Analysis (160B); Orchestration (106, 107). HISTORY: Medieval (279) or Renaissance (291); Baroque (292); Classical (282); Romantic (283); 20th Century (284). MUSICIANSHIP: (204A-B-C). Students must demonstrate reading knowledge of French, German, or Italian by the end of their first year of residency.

Seventy-two graduate units are required: All students must take Music 200A, 207A, six quarters of 208, 211A-B-C; either (a) two courses from 209IA-IB-IC or (b) one course from 209IA-IB-IC and two courses from 209LA-LB-LC; one course from 250A-B, 252A-B; one course from 261, 263-268, 279, 282-284, 287, 291-292; three courses from A232-A270 (including A240); 10 units of electives selected with the guidance of a faculty advisor.

It is recommended that students take an ethnomusicology course as an elective.

Students must also submit an original composition of substantial length. Additionally, they must present a concert of their own compositions.

Degree Requirements--Ethnomusicology Emphasis

Students must pass sections one through four of the ethnomusicology placement guidance examinations or successfully complete, by the end of their first year of residency, equivalent coursework specified by the ethnomusicology committee. Students must demonstrate reading knowledge of either one European or one field language by the end of their first year of residency.

Seventy-two graduate units are required: Music 200A, 200C, 224, 225, 276; one course from 262A-G; six courses of 288; two courses from 293A-K; 8 units of music or ethnomusicology elective; six courses from A232-A270; 8 units of non-music electives; thesis.

Degree Requirements--Musicology Emphasis

M.A. students will follow one of two plans: Plan 1 (thesis) or Plan 2 (comprehensive examinations). The former requires two years of coursework and the thesis. The latter requires three years of coursework (see below for required courses) and a written comprehensive examination. Upon satisfactory completion of this examination, the student will be awarded an M.A. degree and proceed to the oral qualifying examination for the Ph.D. Students continuing for the Ph.D. will normally follow Plan 2. Terminal M.A. students will follow Plan 1. All students must pass placement guidance examinations in the subject areas denoted by capital letters or successfully complete equivalent coursework before advancement to candidacy. Course numbers are shown in parentheses. THEORY: 16th-Century Motet (102) or 18th-Century Fugue (103); Figured Bass (5A-F); Tonal Analysis (160A); 20th-Century Analysis (160B). HISTORY: Medieval (279); Renaissance (291); Baroque (292); Classical (282); Romantic (283); 20th Century (284). MUSICIANSHIP: (204A-B-C). Students must demonstrate reading knowledge of French, German, or Italian by the end of their first year of residency.

Plan 1 (thesis) requires the following courses: Music 200A and B; one course from 201A or 201C; six courses of 203MT; three courses from 261A or 261B, 263A or 263B, 265A or 265B, 266A or 266B, 268A or 268B, 269A or 269B; six courses from A232-A270; 36 additional units selected with guidance of faculty advisor; thesis.

Plan 2 (comprehensive examination) requires the following courses: Music 200A and 200B; one course from 201A or 201C (student must take both if specializing in music prior to 1600); 202A and 202B; nine courses of 203MT; one course from each of the following series: 261A-B, 263A-B, 265A-B, 266A-B, 268A-B, 269A-B; two courses from A232-A270; 8 units in approved field(s) outside of music selected with guidance of faculty advisor; 36 or 40 additional units selected with guidance of faculty advisor depending upon 201A and C choice; four days of comprehensive exams.

Degree Requirements--Theory Emphasis

Students must pass the placement guidance examinations in the subject areas denoted by capital letters or successfully complete equivalent coursework before advancement to candidacy. Course numbers are shown in parentheses. THEORY: 16th-Century Motet (102) or 18th-Century Fugue (103); Figured Bass (5A-F); Tonal Analysis (160A); 20th-Century Analysis (160B). HISTORY: Medieval (279) or Renaissance (291); Baroque (292); Classical (282); Romantic (283); 20th Century (284). MUSICIANSHIP: (204A-B-C). Students must demonstrate reading knowledge of French or German by the end of their second year of residency.

Seventy-two graduate units are required: Music 200A and 200D; 250A or 250B; 251A or 251B; 252A and 252B; three courses from A232-A270; six courses of 203MT; 36 additional units selected with guidance of faculty advisor; thesis.

Master of Music

The master of music degree provides preparation for professional performers in the areas offered. The degree will be awarded to candidates who demonstrate technical proficiency and advanced competence as performers, a substantial knowledge of the solo and chamber music literature in the field of their specialization, and a ready command of those aspects of music theory and music history that support and illuminate informed performance.

Admission

Applicants must hold a bachelor of music or a bachelor of arts in music performance. An audition is required. Applicants will provide a repertory list and programs of concerts performed. In addition to departmental requirements for admission, applicants must fulfill university requirements for admission to graduate status described in the section "Graduate Education at UCSB."

Degree Requirements--Conducting Emphasis

M.M. students in conducting will follow one of two plans: Plan 1 (major performance) or Plan 2 (comprehensive examinations). The former requires two years of coursework and the major performance. The latter requires three years of courses, a successful D.M.A. audition, and a written comprehensive examination. Upon satisfactory completion of this examination, the student will be awarded an M.M. degree and proceed to the oral qualifying examination for the D.M.A. Students continuing for the D.M.A. in emphases in which this degree is offered will normally follow Plan 2. Terminal M.M. students will follow Plan 1.

Students must pass placement guidance examinations in the subject areas denoted by capital letters or successfully complete equivalent coursework before advancement to candidacy. Course numbers are shown in parentheses. THEORY: 16th-Century Motet (102) or 18th-Century Fugue (103); Figured Bass (5A-F); Tonal Analysis (160A); 20th-Century Analysis (160B). HISTORY: Medieval (279) or Renaissance (291); Baroque (292); Classical (282); Romantic (283); 20th Century (284). MUSICIANSHIP: (204A-B-C). Students must demonstrate reading knowledge of French or German or Italian by the end of their first year of residency (M.M., choral conducting requires all three languages before graduation. Orchestral conducting requires two languages before graduation.) Choral conducting students must demonstrate proficiency in piano and voice; orchestral conducting students must demonstrate proficiency in piano, or proficiency in an orchestral instrument plus basic proficiency in piano.

M.M. concerts may not be given until an audition has been reviewed and approved by two members of the conducting committee, as indicated on forms provided by the music graduate advisor. The concerts, too, must be approved by the student's master's committee, as indicated on forms provided by the graduate advisor. Auditions and concerts must take place in Santa Barbara, with the full committee or pre-approved substitutes in attendance.

Plan 1 (major performance). Seventy-eight graduate units are required: Six quarters of Music 220 (24 units); 200A; 278A or 278B; 296D or 296E; five quarters of 231 and two quarters of 230 (M.M., choral conducting) or five courses from 230 and two quarters of 231 (M.M., orchestral conducting); three courses from A232-A270; three courses from 200B, 201, 202, 211, 212, 223-227, 250-252, and/or 260-294; 233; 295A and the equivalent of a full-length concert; 295B and a major performance (the equivalent of a chamber ensemble or small ensemble or large ensemble or mixed concert). Either 295A or 295B should normally be completed by the end of the first year.

Plan 2 (comprehensive examinations). One hundred and twenty-six units are required before the oral examination: nine quarters of Music 220 (36 units); 200A; 278A and 278B; 296D or 296E; 299A and 299B; eight quarters of 231 and two quarters of 230 (M.M., choral conducting) or eight quarters of 230 and two quarters of 231 (M.M., orchestral conducting); six courses from Music A232-A270; six courses from Music 200B, 201, 202, 211, 212, 223-227, 250-252, and/or 260-294; 233; 295A and the equivalent of a full-length concert by the end of the first year; successful D.M.A. audition for the conducting area committee; 297A and the equivalent of a chamber ensemble or small ensemble or large ensemble or mixed concert; 297B and the equivalent of a full-length concert: either 297A or 297B should normally be completed by the end of the second year; three days of written comprehensive examinations.

Degree Requirements--Keyboard, Strings, Voice, and Woodwinds and Brass Emphases

M.M. students in keyboard, strings, and voice will follow one of two plans: Plan 1 (major performance) or Plan 2 (comprehensive examinations). The former requires two years of coursework and the major performance. The latter requires three years of courses, a successful D.M.A. audition, and a written comprehensive examination. Upon satisfactory completion of this examination, the student will be awarded an M.M. degree and proceed to the oral qualifying examination for the D.M.A. Students continuing for the D.M.A. in emphases in which this degree is offered will normally follow Plan 2. Terminal M.M. students, including all M.M. students in the woodwinds and brass emphasis, will follow Plan 1.

Students must pass placement guidance examinations in the subject areas denoted by capital letters or successfully complete equivalent coursework before advancement to candidacy. Course numbers are shown in parentheses. THEORY: 16th-Century Motet (102) or 18th-Century Fugue (103); Figured Bass (5A-F); Tonal Analysis (160A); 20th-Century Analysis (160B). HISTORY: Medieval (279) or Renaissance (291); Baroque (292); Classical (282); Romantic (283); 20th Century (284). MUSICIANSHIP: (204A-B-C). Students must demonstrate reading knowledge of French, German, or Italian (M.M. Plan 1 Voice requires reading knowledge of two from French, German, and Italian; M.M. Plan 2 Voice requires reading knowledge of French, German, and Italian) before advancement to candidacy.

M.M. recitals may not be given until a recital audition has been reviewed and approved by two members of the appropriate area committee (keyboard, strings, voice, or woodwinds/brass), as indicated on forms provided by the music program advisor. The recitals, too, must be approved by the student's master's committee, as indicated on forms provided by the program advisor. Auditions and recitals must take place in Santa Barbara, with the full committee or pre-approved substitutes in attendance.

Plan 1 (major performance). Seventy-two graduate units are required: Six quarters of Music 220 (24 units); 200A; 278A or 278B; one course from 296A-B-C-F-G; three quarters of A244 ; six courses from A232-A270; three quarters from 200B, 201, 202, 211, 212, 223-227, 250-252, and/or 260-294; 2 units of electives selected with guidance of faculty advisor; 295A and a full-length recital; 295B and major performance (chamber music recital or concerto or major opera/oratorio role or another full-length recital). Either 295A or 295B should normally be completed by the end of the first year.

Plan 2 (comprehensive examinations). Required before the oral examination: One hundred-fourteen units, including nine quarters of Music 220 (36 units); 200A; 278A and 278B; one course from 296A-B-C; 299A and 299B; three courses from A244; nine courses from Music A232-A270; six courses from Music 200B, 201, 202, 211, 212, 223-227, 250-252, and/or 260-294; 295A and a full-length recital by the end of the first year; successful D.M.A. audition for the appropriate performance area committee (keyboard, strings, or voice); 297A and a chamber music recital or concerto or major opera/oratorio role or full-length recital; 297B and a full-length recital: either 297A or 297B should normally be completed by the end of the second year; three days of written comprehensive examinations.

Degree Requirements--Piano Accompanying Emphasis

Students must pass placement guidance examinations in the subject areas denoted by capital letters or successfully complete equivalent coursework before advancement to candidacy. Course numbers are shown in parentheses. THEORY: 16th-Century Motet (102) or 18th-Century Fugue (103); Figured Bass (5A-F); Tonal Analysis (160A); 20th-Century Analysis (160B). HISTORY: Medieval (279) or Renaissance (291); Baroque (292); Classical (282); Romantic (283); 20th Century (284). MUSICIANSHIP: (204A-B-C). Students must demonstrate reading knowledge of French, German, or Italian by the end of their first year of residency and of a second of these before graduation.

M.M. recitals may not be given until a recital audition has been reviewed and approved by two members of an appropriate area committee, as indicated on forms provided by the music program advisor. The recitals, too, must be approved by the student's master's committee, as indicated on forms provided by the program advisor. Auditions and recitals must take place in Santa Barbara, with the full committee or pre-approved substitutes in attendance.

Eighty-two graduate units are required: Six quarters of Music 220 (piano instruction, 18 units); six quarters of 235 (18 units); 200A; 278A or 278B; one course of 296A or 296B or 296C; three quarters of A244; three quarters of 258; three courses from 200B, 201, 202, 211, 212, 223-227, 250-252, and/or 260-294; 295A and a full-length recital; 295B and a major performance (chamber music recital or another full-length recital). Either 295A or 295B should normally be completed by the end of the first year.

Doctor of Philosophy--Music

Admission

The department requires completion of a master of arts degree in music from UCSB or a degree based on equivalent training. Students with a master of arts from another institution will take at least two additional years of graduate coursework for the doctor of philosophy. In addition to departmental requirements for admission, applicants must fulfill university requirements for admission to graduate status described in the section "Graduate Education at UCSB."

Degree Requirements--Composition Emphasis

Students must pass placement guidance examinations in the subject areas denoted by capital letters or successfully complete equivalent coursework before advancement to candidacy. All entering composition students are required to demonstrate proficiency in 18th-century counterpoint (fugue). This will be tested through an examination given when other guidance exams are administered (just prior to the start of fall quarter). Those who do not pass will satisfy those core proficiency by passing 212A, or by reexamination. Those who elect to pursue further fugal studies may do so by continuing the 212 series, offered in alternate years. Course numbers are shown in parentheses. THEORY: 16th-Century Motet (102); 18th-Century Fugue (212A); Figured Bass (5A-F); Tonal Analysis (160A); 20th-Century Analysis (160B); Orchestration (106, 107). HISTORY: Medieval (279) or Renaissance (291); Baroque (292); Classical (282); Romantic (283); 20th Century (284). MUSICIANSHIP: (204A-B-C). Students must demonstrate reading knowledge of two languages from French, German, or Italian by the end of their first year of residency. Students may substitute a computer music language for the second language. The computer-music language, Cmusic, may be substituted for the second foreign language under the following conditions: (1) successful completion of 209IA and 209IB and (2) composition of a substantial computer-music work which begins in 209IC, continues beyond that quarter, and demonstrates sufficient competence in applying the language. (Normally, one language examination must be passed by the Ph.D. candidate prior to acceptance.) Students must have completed the equivalent of Music 200A (Bibliography).

Eighty-eight graduate units are required. All students must take Music 207A-B; six quarters of 208; 211A-B-C; either (a) two courses from 209IA-IB-IC or (b) one course from 209IA-IB-IC and two courses from 209LA-LB-LC; one course from 261, 263-269, 279, 282-284, 287, 291-292; one course from 260D, 276, 293; two courses from 250A-B, 252A-B; one course from A232-A270 (including A240); 18 units of electives selected with the guidance of a faculty advisor.

In addition, all students must take five days of written and oral qualifying exams; write a dissertation consisting of a portfolio of compositions, including one of substantial length; write a document analyzing a major twentieth-century work, to be deposited in the Music Library; and give a concert of their compositions, for which the student supplies a detailed commentary of each piece; oral defense.

Degree Requirements--Ethnomusicology Emphasis

Students must pass sections one through four of the ethnomusicology placement guidance examinations or successfully complete, by the end of their first year of residency, equivalent coursework specified by the ethnomusicology committee. Students must demonstrate reading knowledge of two languages, including one European language chosen from French, German, Italian, or Spanish (proficiency to be demonstrated by the end of the first year of residency), and one additional language relevant to the field of specialization (proficiency to be demonstrated prior to the qualifying exams).

Ninety-six graduate units are required: 200A and 200C, 224, 225, 226, 227A and 227B, 260D, 276; two courses from 262A-G ; five courses from 293A-K; 8 units of music or non-music electives selected with the guidance of faculty advisor; 288 (attendance required during each quarter of residency); A232-A270 (one performance ensemble required during each quarter of residency); five days of written and oral qualifying exams; dissertation; oral defense.

Degree Requirements--Musicology Emphasis

Students must pass placement guidance examinations in the subject areas denoted by capital letters or successfully complete equivalent coursework before advancement to candidacy. Course numbers are shown in parentheses. THEORY: 16th-Century Motet (102) or 18th-Century Fugue (103); Figured Bass (5A-F); Tonal Analysis (160A); 20th-Century Analysis (160B). HISTORY: Medieval (279); Renaissance (291); Baroque (292); Classical (282); Romantic (283); 20th Century (284). MUSICIANSHIP: (204A-B-C). Students must demonstrate reading knowledge in French and German. Mastery of a third language may also be required in the student's field of specialization. Students in this doctoral emphasis usually demonstrate mastery of French or German by the end of their first year of residency, and demonstrate mastery of the remaining European language by the end of the second year of residency.

One hundred-two graduate units required. The following courses are required: Music 200A and 200B; one course from 201A or 201C (student must take both if specializing in music prior to 1600); 202A and 202B; nine courses of 203MT; one course from each of the following series: 261A-B, 263A-B, 265A-B, 266A-B, 268A-B, 269A-B; two courses from A232-A270; 8 units in approved field(s) outside of music selected with guidance of faculty advisor; 36 or 40 additional units selected with guidance of faculty advisor depending on 201A and C choice; five days of written and oral qualifying exams; dissertation; oral defense.

Continuing students who selected the Plan 2 M.A. degree are required to take only the oral portion of the qualifying examinations.

Degree Requirements--Theory Emphasis

Students must pass the placement guidance examinations in the subject areas denoted by capital letters or successfully complete equivalent coursework before advancement to candidacy. Course numbers are shown in parentheses. THEORY: 16th-Century Motet (102) or 18th-Century Fugue (103); Figured Bass (5A-F); Tonal Analysis (160A); 20th-Century Analysis (160B). HISTORY: Medieval (279) or Renaissance (291); Baroque (292); Classical (282); Romantic (283); 20th Century (284). MUSICIANSHIP: (204A-B-C). Students must demonstrate reading knowledge of French or German by the end of their first year of residency, and a second language by the end of their second year of residency.

Seventy-two graduate units are required. Music 200A and 200D; 250A-B; 251A-B; 252A-B; one course from A232-A270; six courses of 203MT; 8 units in approved field(s) outside of music selected with guidance of faculty advisor; 24 additional units selected with guidance of faculty advisor; five days of written and oral qualifying exams; dissertation.

Doctor of Musical Arts

The doctor of musical arts degree provides a thorough preparation for the professional performer and the artist-teacher in the areas offered. Candidates for the degree will demonstrate the following: an exceptional degree of technical proficiency and thoroughly professional competence as performers; a thorough and deep command of the solo and chamber music literature in their specialties; a thorough knowledge of the relevant literature in music theory and music history and the kind of thoughtful musicianship that results from disciplined and careful study of music theory, music history, and musical styles.

Admission

Applicants must have completed a master of music degree or its equivalent. A live audition is required, comparable in scope to a full recital demonstrating the applicant's command of several musical styles. Applicants will submit a repertory list and programs and reviews of concerts performed. In addition to departmental requirements for admission, applicants must fulfill university requirements for admission to graduate status described in the section "Graduate Education at UCSB."

Degree Requirements--Conducting Emphasis

Continuing students in conducting who selected the Plan 2 M.M. degree will have completed all unit requirements for the D.M.A. degree and are required to take only the oral portion of the qualifying examinations.

Students must pass placement guidance examinations in the subject areas denoted by capital letters or successfully complete equivalent coursework before advancement to candidacy. Course numbers are shown in parentheses. THEORY: 16th-Century Motet (102) or 18th-Century Fugue (103); Figured Bass (5A-F); Tonal Analysis (160A); 20th-Century Analysis (160B). HISTORY: Medieval (279) or Renaissance (291); Baroque (292); Classical (282); Romantic (283); 20th Century (284). MUSICIANSHIP: (204A-B-C). Students must have completed the equivalent of 200A (Bibliography). Choral conducting students must demonstrate reading knowledge of French, German, and Italian; orchestral conducting students two of French, German, and Italian. Choral conducting students must demonstrate proficiency in piano and voice; orchestral conducting students must demonstrate proficiency in piano, or proficiency in an orchestral instrument plus basic proficiency in piano.

Pre-candidacy concerts may not be given until an audition has been reviewed and approved by two members of the conducting committee, as indicated on forms provided by the music graduate advisor. The concerts, too, both pre- and post-candidacy, must be approved by the student's doctoral committee, as indicated on forms provided by the graduate advisor. Auditions and concerts must take place in Santa Barbara, with the full committee or pre-approved substitutes in attendance.

Admission to candidacy will be established by fulfillment of the residency requirement of six quarters, fulfillment of language requirements, presentations of two concerts (as specified below), and passing the written and oral D.M.A. qualifying examinations. In addition, the following requirements must be met before advancement to candidacy: Eighty-two graduate units: Six quarters of Music 220 (24 units); 278A and 278B; 296D or 296E; 299A and 299B; five quarters of 231 (D.M.A., choral conducting) or 230 (D.M.A., orchestral conducting); three courses from Music A232-A270; three courses from Music 200B, 201, 202, 211, 212, 223-227, 250-252, and/or 260-294; 233, if not previously fulfilled for an M.M. degree; 297A and the equivalent of a chamber ensemble or small ensemble or large ensemble or mixed concert; 297B and the equivalent of a full-length concert (either 297A or 297B should normally be completed by the end of the second year); four days of written and oral qualifying examinations. After advancement to candidacy: the equivalent of two additional full-length concerts, tapes of which are deposited in the Music Library; D.M.A. research document, (scholarly study or thesis presenting an original contribution or insight into some aspect related to the candidate's field of study) deposited in the UCSB Davidson Library; and an oral defense of the research document, preceded by a public lecture-recital presentation related to the research document topic.

Note: Continuing students who have successfully completed the Plan 2 M.M. degree will have fulfilled all D.M.A. unit course requirements, are exempt from the written qualifying examinations, and are required to take only the oral qualifying examinations before advancement to candidacy.

Degree Requirements--Keyboard, Strings, and Voice Emphases

Continuing students in keyboard, strings, and voice who selected the Plan 2 M.M. degree will have completed all unit requirements for the D.M.A. degree and are required to take only the oral portions of the qualifying examinations.

Students must pass placement guidance examinations in the subject areas denoted by capital letters or successfully complete equivalent coursework before advancement to candidacy. Course numbers are shown in parentheses. THEORY: 16th-Century Motet (102) or 18th-Century Fugue (103); Figured Bass (5A-F); Tonal Analysis (160A); 20th-Century Analysis (160B). HISTORY: Medieval (279) or Renaissance (291); Baroque (292); Classical (282); Romantic (283); 20th Century (284). MUSICIANSHIP: (204A-B-C). Students must have completed the equivalent of 200A (Bibliography). Students must demonstrate reading knowledge of French, German, or Italian (D.M.A. Voice: French, German, and Italian).

D.M.A. pre-candidacy recitals may not be given until a recital audition has been reviewed and approved by two members of the appropriate area committee (keyboard, strings, or voice), as indicated on forms provided by the music graduate advisor. The recitals, too, both pre- and post-candidacy, must be approved by the student's doctoral committee, as indicated on forms provided by the graduate advisor. Auditions and recitals must take place in Santa Barbara, with the full committee or pre-approved substitutes in attendance.

Admission to candidacy will be established by fulfillment of the residency requirement of six quarters, fulfillment of language requirements, presentations of two recitals or concerts (as specified below), and passing the written and oral D.M.A. qualifying examinations. In addition, the following requirements must be met before advancement to candidacy: Seventy-two graduate units: Six quarters of Music 220 (24 units); 278A and 278B; one course of 296A-B-C; 299A and 299B; six courses from A232-A270; three courses from Music 200B, 201, 202, 211, 212, 223-227, 250-252, and/or 260-294; 297A and a chamber music recital or concerto or major opera/oratorio role or full-length recital; 297B and a full-length recital: either 297A or 297B should normally be completed by the end of the first year; four days of written and oral qualifying examinations. After advancement to candidacy: the equivalent of two additional full-length concerts, tapes of which are deposited in the Music Library; D.M.A. research document, (scholarly study or thesis presenting an original contribution or insight into some aspect related to the candidates's field of study) deposited in the UCSB Davidson Library; and an oral defense of the research document, preceded by a public lecture-recital presentation related to the research document topic.

Note: Continuing students who have successfully completed the Plan 2 M.M. degree will have fulfilled all D.M.A. unit course requirements, are exempt from the written qualifying examinations, and are required to take only the oral qualifying examinations before advancement to candidacy.

Optional Ph.D. Emphasis in European Medieval Studies

The Medieval Studies Program offers an interdisciplinary doctoral emphasis to students previously admitted to a Ph.D. program in the Departments of Dramatic Art, English, French and Italian, History, History of Art and Architecture, Music, Religious Studies, and Spanish and Portuguese. Students pursuing the emphasis in European medieval studies must receive a grade of B or better in each of the following: Medieval Latin (Latin 103); one course in a vernacular, western European or Middle Eastern medieval language (English 205, English 230, French 206, Spanish 222A, Spanish 222B, Portuguese 222, Religious Studies 148A, Religious Studies 148 B, Religious Studies 210); Paleography and/or Diplomatics (History 215S, History 215T); Medieval Studies 200A-B-C; and 8 additional units in graduate courses on medieval topics. Students may petition to have appropriate courses from other institutions, or independent study, substituted for these requirements. Medieval Studies 200A-B-C is the program's colloquium series; graduate students in the emphasis attend the series and write brief papers on each colloquium (one per term), to be reviewed by the chair of the program (2 units). To qualify for the emphasis, at least one member of a Ph.D. candidate's dissertation committee must be an affiliated faculty member of the European Medieval Studies Program. Contact the European Medieval Studies Program for additional information on faculty interests, course offerings, and program requirements, or visit our website at medievalstudies.ucsb.edu.

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Majors and non-majors admitted to individual performance classes Music 25-33 and 125-133 (all of which are by audition and require the consent of department and instructor) may be required to participate in orchestra, wind ensemble, choir or another ensemble, as appropriate, in quarters in which they are enrolled in such performance classes.

Lower Division

1. Classical Music Live
(4) Rothfarb
Primarily for the non-major. Tickets and transportation provided free of charge. For full course information, please go to: www.music.ucsb.edu/faculty/rothfarb/courses/Music1/.
Students meet for a one-hour pre-concert lecture given by Music Department faculty, and then attend world-class symphony concerts sponsored by Santa Barbara's Community Arts Music Association.

4A-B-C-D-E-F. Musicianship
(1-1-1-1-1-1) Staff
Prerequisites: placement exam. A grade of at least C- is required in each course of the Music 4 series. Must be taken consecutively, and concurrently with the Music 5 series.
A practical course in sight singing, aural analysis, and rhythmic studies.

5A-B-C-D-E-F. Music Theory
(3-3-3-3-3-3) Staff
Prerequisites: placement exam. A grade of at least C- is required in each course of the Music 5 series. Must be taken consecutively, and concurrently with the Music 4 series.
Music theory sequence: tonal and chromatic harmony, analysis, counterpoint, twentieth-century techniques, formal structures in music.

6. Jazz Fundamentals
(2) Kennerly
Prerequisites: Music 5C.
Letter grade required for majors. May be repeated for credit to a maximum of 8 units, but only 2 units may be applied toward the major.
Introduction to jazz harmony, scales, and improvisation. Drill in ear training and beginning keyboard.

8. Class Composition
(2) Staff
Prerequisite: consent of instructor.
Primarily for the major. May be repeated for credit to a maximum of 18 units, but only 12 units may be applied toward the major.
Assignments in basics of music writing. For a selected number of students enrolled in Music 5A-F. (F,W,S)

11. Fundamentals of Music
(4) Staff
For the nonmajor.
The study of notes, scales, triads, inversions, rhythm, harmony, and musical terminology. Laboratory activities include keyboard orientation, sight-singing, and ear training. (F,W,S)

15. Music Appreciation
(4) Staff
Not open to music majors.
A selective survey of music of Western civilization, evolution of forms, styles, media. Designed to enable the student to listen with understanding. (F,W,S)

17. World Music
(4) Marcus
No previous training in music required.
An introductory course surveying the unity and diversity of folk, traditional, and classical music of the non-Western world. Emphasis given to dance, theatre, musical instruments, and the role of music in society. (F,W,S)

20A. Elementary Voice
(1) Staff
Prerequisite: Music 11. Placement by audition.
May be repeated for credit in combination with Music 20B and 20C to a maximum of 6 units, but only 3 units may be applied toward the major.
Elementary voice lessons, primarily for the instrumental music major and the music minor. (F,W,S)

20B. Elementary Voice
(1) Staff
Prerequisite: Music 11. Placement by audition.
May be repeated for credit in combination with Music 20A and 20C to a maximum of 6 units, but only 3 units may be applied toward the major.
Elementary voice lessons, primarily for the instrumental music major and the music minor. (F,W,S)

20C. Elementary Voice
(1) Staff
Prerequisite: Music 11. Placement by audition.
May be repeated for credit in combination with Music 20A and 20B to a maximum of 6 units, but only 3 units may be applied toward the major.
Elementary voice lessons, primarily for the instrumental music major and the music minor. (F,W,S)

22. Practicum in World Music Performance
(1) Staff
Prerequisite: consent of instructor.
May be repeated for credit to a maximum of 6 units.
Applied instruction in non-Western instruments or vocal styles.

25. Intermediate Voice
(1-3) Ingham, Mosher, Sokol
Prerequisites: by audition; Consent of instructor and department. .
Primarily for music majors. May be repeated for credit to a maximum of 27 units.
Intermediate voice lessons. Taken for 3 units per quarter by BM Voice Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

26A. Intermediate Double Bass
(1-3) Garber
Prerequisites: by audition; consent of instructor and department.
May be repeated for credit to a maximum of 27 units.
Intermediate double bass lessons. Taken for 3 units per quarter by BM Double Bass Emphasis majors, and for 1-2 units per quarter by all others.

26B. Intermediate Cello
(1-3) Rutkowski
Prerequisites: by audition; consent of instructor and department.
May be repeated for credit to a maximum of 27 units.
Intermediate cello lessons. Taken for 3 units per quarter by BM Cello Emphasis majors, and for 1-2 units per quarter by all others.

26C. Intermediate Guitar
(1-3) Head
Prerequisites: by audition; consent of instructor and department.
May be repeated for credit to a maximum of 27 units.
Intermediate guitar lessons. Taken for 3 units per quarter by BM Guitar Emphasis majors, and for 1-2 units per quarter by all others.

26D. Intermediate Viola
(1-3) Monke
Prerequisites: by audition; consent of instructor and department.
May be repeated for credit to a maximum of 27 units.
Intermediate viola lessons. Taken for 3 units per quarter by BM Viola Emphasis majors, and for 1-2 units per quarter by all others.

26E. Intermediate Violin
(1-3) Yaron
Prerequisites: by audition; consent of instructor and department.
May be repeated for credit to a maximum of 27 units.
Intermediate violin lessons. Taken for 3 units per quarter by BM Violin Emphasis majors, and for 1-2 units per quarter by all others.

27A. Intermediate Bassoon
(1-3) Radford
Prerequisites: by audition; consent of instructor and department.
May be repeated for credit to a maximum of 27 units.
Intermediate bassoon lessons. Taken for 3 units per quarter by BM Bassoon Emphasis majors, and for 1-2 units per quarter by all others.

27B. Intermediate Clarinet
(1-3) Bambach
Prerequisites: by audition; consent of instructor and department.
May be repeated for credit to a maximum of 27 units.
Intermediate clarinet lessons. Taken for 3 units per quarter by BM Clarinet Emphasis majors, and for 1-2 units per quarter by all others.

27C. Intermediate Flute
(1-3) Felber
Prerequisites: by audition; consent of instructor and department.
May be repeated for credit to a maximum of 27 units.
Intermediate flute lessons. Taken for 3 units per quarter by BM Flute Emphasis majors, and for 1-2 units per quarter by all others.

27D. Intermediate Oboe
(1-3) Horn
Prerequisites: by audition; consent of instructor and department.
May be repeated for credit to a maximum of 27 units.
Intermediate oboe lessons. Taken for 3 units per quarter by BM Oboe Emphasis majors, and for 1-2 units per quarter by all others.

28A. Intermediate French Horn
(1-3) Gross
Prerequisites: by audition; consent of instructor and department.
May be repeated for credit to a maximum of 27 units.
Intermediate french horn lessons. Taken for 3 units per quarter by BM French Horn Emphasis majors, and for 1-2 units per quarter by all others.

28B. Intermediate Trombone
(1-3) Booth
Prerequisites: by audition; consent of instructor and department.
May be repeated for credit to a maximum of 27 units.
Intermediate trombone lessons. Taken for 3 units per quarter by BM Trombone Emphasis majors, and for 1-2 units per quarter by all others.

28C. Intermediate Trumpet
(1-3) Hungerford
Prerequisites: by audition; consent of instructor and department.
May be repeated for credit to a maximum of 27 units.
Intermediate trumpet lessons. Taken for 3 units per quarter by BM Trumpet Emphasis majors, and for 1-2 units per quarter by all others.

28D. Intermediate Tuba
(1-3) Booth
Prerequisites: by audition; consent of instructor and department.
May be repeated for credit to a maximum of 27 units.
Intermediate tuba lessons. Taken for 3 units per quarter by BM Tuba Emphasis majors, and for 1-2 units per quarter by all others.

28E. Intermediate Euphonium/Baritone
(1-2) Booth
Prerequisites: by audition; consent of instructor and department.
May be repeated for credit to a maximum of 18 units.
Intermediate euphonium or baritone lessons.

29. Intermediate Percussion
(1-3) Nathan
Prerequisites: by audition; consent of instructor and department.
May be repeated for credit to a maximum of 27 units.
Intermediate percussion lessons. Taken for 3 units per quarter by BM Percussion Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

31A-B-C-D-E-F. Class Piano
(1-1-1-1-1-1) Juhn
Prerequisite: placement by audition. A grade of at least C- is required in each course of the music 31 series.
Primarily for music majors. Must be taken consecutively.
Includes scales, sight-reading and appropriate piano literature. (F,W,S)

32A-B-C-D-E-F. Secondary Piano
(1-1-1-1-1-1) Juhn
Prerequisite: placement by audition.
Primarily for music majors. May be repeated for credit to a maximum of 6 units.
Optional continuation of Music 31. Elementary individual class piano instruction. Includes scales, sight-reading, transposition, harmonization at the keyboard, with emphasis on piano literature.

33. Intermediate Piano
(1-3) Oberacker, Berkowitz, Asche
Prerequisites: by audition; consent of instructor and department.
May be repeated for credit to a maximum of 27 units.
Intermediate piano lessons. Taken for 3 units per quarter by BM Piano Emphasis and BM Piano Accompanying Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

35A-B-C-D-E-F. Piano Accompanying
(1-1-1-1-1-1) Epperson
Prerequisites: Music 33 (may be taken concurrently) for piano and accompanying emphasis majors only; consent of instructor.
An introduction to the study of accompaniment repertoire and performance (art song, instrumental literature, orchestral transcriptions, sight-reading). (A,B:F; B,E: W; C,F:S)

51. Vocal and Instrumental Coaching
(1) Epperson, Anglin, Juhn
Prerequisite: concurrent vocal or instrumental study (Music 25-29).
May be repeated for credit to a maximum of 9 units, but only 3 units may be applied toward the major.
Musical preparation of vocal or instrumental works from a coach/accompanist.

88. Intermediate Composition
(2) Staff
Prerequisites: passing of freshman composition portfolio and consent of instructor.
May be repeated for credit to a maximum of 12 units, but only 6 units may be applied toward the major.
Preparation for Music 108. For selected students.

94. Freshman Audition
(1) Staff
Preparation of freshman audition.

94B. Freshman Composition Portfolio
(1) Staff
Prerequisite: consent of instructor.
Preparation of freshman composition portfolio.

95A-C. BA Sophomore Project
(2-2) Staff
A. Audition: optional, with consent of instructor.
C. Paper: required, if neither A nor B taken.

96A-C. Honors Project
(2-2) Staff
Prerequisites: honors students only; consent of instructor and department.
Public presentation of sophomore project:
A. Public performance of sophomore audition (BM performance; BA by petition)
C. Public presentation of sophomore paper (BA music)

97. BM Sophomore Audition
(2) Staff
Prerequisites: passing of freshman audition (may be waived for transfer students); consent of instructor.
Preparation of sophomore audition.

98. Readings in Music
(1-3) Staff
Prerequisite: consent of instructor.
Students must have a minimum 3.0 cumulative grade-point average. May be repeated for credit up to 6 units. Students are limited to 5 units per quarter and 30 units total in all 98/99/198/199/199DC/199RA courses combined.
Critical review and discussion of related topics in musicology, ethnomusicology, composition, theory, or performance. (F,W,S)

99. Introduction to Musical Research
(1-3) Staff
Prerequisite: consent of instructor.
Students must have a minimum 3.0 cumulative grade-point average. May be repeated for credit up to 6 units. Students are limited to 5 units per quarter and 30 units total in all 98/99/198/199/199DC/199RA courses combined.
Independent research under the guidance of a faculty member in the department. Course offers exceptional students the opportunity to undertake independent research of work in a research group in topics in musicology, ethnomusicology, composition, theory, or performance. (F,W,S)

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Upper Division

All upper-division Music courses that require any course in the Music 4A-F sequence and/or any course in the Music 5A-F sequence as prerequisites requires that these prerequisites be passed with a grade of C- or better, or that the student have been placed into a higher course in the sequence or out of the sequence entirely in the placement tests conducted by the Department of Music.

101A-B-C. Twentieth-Century Techniques
(2-2-2) Haladyna
Prerequisite: Music 5E.
Music 101A not open for credit to students who have completed Music 101.
A study of contemporary techniques, through both written work and analysis. (W)

102. Sixteenth-Century Counterpoint
(3) Staff
Prerequisite: Music 5E.
A study of contrapuntal practices of the sixteenth century through analysis and compositional
exercises. (S)

103. Eighteenth Century Counterpoint
(3) Staff
Prerequisite: Music 5E.
A study of contrapuntal practices of the eighteenth century through analysis and compositional exercises. (W)

104. Musical Instruments of the World
(3) Hsu
A systematic study of musical instruments in world cultures involving classification, distribution, acoustical phenomena, and physical typologies. Emphasis on cross-cultural comparative analysis of solo and ensemble groupings, and the role of musical instruments in the study of acculturation, historical diffusion, and aesthetics.(F,W,S)

105. Field and Laboratory Methods in Ethnomusicology
(3) Staff
Prerequisite: Music 176.
The development and execution of field research designs. Practical field experience using various techniques of data collection and management including music recording, photography, filming, questionnaires, and interviewing. The use and interpretation of standard and innovative laboratory methods for processing data, including computer analysis.

106A-B-C. Orchestration
(2-2-2) Haladyna
Prerequisite: Music 5E.
Music 106A not open for credit to students who have completed Music 106. Music 106B not open for credit to students who have completed Music 107.
The study of orchestration through written work and analysis. (F)

108. Advanced Composition
(1-3) Feigin
Prerequisites: Music 5F; passing of sophomore composition portfolio; consent of instructor.
May be repeated for credit to a maximum of 36 units.
Individual instruction in composition. Taken for 3 units per quarter by BM Piano Emphasis and BM Composition Emphasis majors, and for 1-2 units per quarter by all others. Assignments using small and large forms.

109IA. Direct Digital Synthesis, Processing and Composition
(3) Kuchera-Morin
Prerequisites: upper-division standing; consent of instructor; music majors must have taken Music 5E.
First quarter of general purpose computing for computer music applications. Topics include: introduction to the UNIX operating system and the vi editor, music synthesis using C-music program and score input programs.

109IB. Direct Digital Synthesis, Processing and Composition
(3) Kuchera-Morin
Prerequisite: Music 109IA.
Second quarter of a three-quarter series concentrating on computer instrument design using C-based computer music software and exploring sythesis applications of frequency modulation, amplitude modulation, additive/subtractive synthesis etc., computer processing of sound, and computer music composition.

109IC. Direct Digital Synthesis, Processing and Composition
(3) Kuchera-Morin
Prerequisites: Music 109IA and 109IB.
Third quarter of a three-quarter series concentrating on advanced C-based computer programs for digital signal processing, advanced instrument design. Most of the emphasis in the quarter is music composition.

109LA. Real-Time Digital Synthesis, Processing and Composition
(2) Roads
Prerequisites: upper-division standing; consent of instructor; music majors must have taken Music 5E.
A maximum of 12 units total allowed for Music 109LA, 109LB, and 109LC.
First quarter of a three-quarter series course in real-time digital synthesis and composition will concentrate on multi-track recording, mixing, digital signal processing using micro-computers and special purpose DSP equipment for music composition.

109LB. Real-Time Digital Synthesis, Processing and Composition
(2) Roads
Prerequisite: Music 109LA.
A maximum of 12 units total allowed for Music 109LA, 109LB, and 109LC.
Second quarter of a three-quarter series course will concentrate on digital synthesis (primarily frequency modulation, simple and complex; but also amplitude modulation and additive synthesis) using micro-computers, digital synthesizers and processing equipment for music composition.

109LC Real-Time Digital Synthesis, Processing and Composition
(2) Roads
Prerequisites: Music 109LA and 109LB.
A maximum of 12 units total allowed for Music 109LA, 109LB, and 109LC.
Third quarter of a three-quarter series course will concentrate on real-time computer music composition with micro-computers and digital synthesis/processing equipment.

109N. Special Topics in Computer Music and Digital Signal Processing
(3) Kuchera-Morin, Roads
Prerequisites: Music 109LA-B-C or 109IA-B-C.
May be repeated for credit to a maximum of 12 units.
Advanced topics in computer music composition, synthesis, and digital signal processing.

112A. History of Music: The Middle Ages
(3) Staff
Prerequisites: Music 5C; consent of instructor.
History of music in Western civilization from antiquity to 1400.

112B. History of Music: The Renaissance
(3) Prizer
Prerequisites: Music 5C; consent of instructor.
History of music in Western civilization from 1400 to 1600. (F)

112C. History of Music: The Baroque
(3) Prizer
Prerequisites: Music 5C; consent of instructor.
History of music in Western civilization from 1600 to 1750.

112D. History of Music: The Classic Era
(3) Staff
Prerequisites: Music 5C; consent of instructor.
History of music in Western civilization from 1725 to 1825. (W)

112E. History of Music: The Romantic Era
(3) Beckerman
Prerequisites: Music 5C; consent of instructor.
History of music in Western civilization from 1790 to 1918.

112F. History of Music: The Twentieth Century
(3) Staff
Prerequisites: Music 5C; consent of instructor.
History of music in Western civilization from 1870 to the present. (S)

114. Music and Popular Culture in Twentieth-Century America
(4) Staff
Prerequisites: upper-division standing; not open to music majors.
A survey of the relationships between music and popular culture in twentieth-century America. Music to be discussed will include blues, jazz, and rock, as well as classical music. Emphasis will be on cultural, rather than technical aspects of music. (F,W,S)

115. Symphonic Music
(4) Rutkowski
Prerequisite: Music 15.
For the nonmajor.
A study of selected symphonic works. (S)

118A-Z. History and Literature of Great Composers in Western Music
(4) Staff
Prerequisite: Music 15.
For the nonmajor.
A survey of the life and stylistic development of the music of an individual composer selected from the fourteenth to the twentieth century.
A. Ludwig van Beethoven
B. J. S. Bach
C. Wolfgang Amadeus Mozart
D. Frederic Chopin
E. Haydn
F-Z. Other composers

119A. Music and Politics
(4) Hall
No previous training in music required. Primarily for non-majors: also open to majors.
A study of the interaction between music and politics from the fourteenth century to the present. Includes discussion of relevant art from each period.

120A. Orchestral Conducting
(2) Staff
Prerequisite: consent of instructor.
May be repeated for credit to a maximum of 12 units, but only 4 units may be applied toward the major.
An introduction to the fundamentals of orchestral conducting and score reading.

120B. Choral Conducting
(2) Gervais
Prerequisite: consent of instructor.
May be repeated for credit to a maximum of 12 units, but only 4 units may be applied toward the major.
An introduction to the fundamentals of choral conducting and score reading.

120C. Advanced Conducting
(1) Gervais
Prerequisite: consent of instructor.
May be repeated for credit to a maximum of 6 units, but only 2 units may be applied toward the major.
Applied instruction in choral and orchestral conducting.

120T. Choral Techniques
(2) Gervais
Prerequisites: Music 120B (may be taken concurrently); consent of instructor.
Aspects of choral techniques including: development of concert programs and rehearsal plans, rehearsal procedures, types of vocal ensembles and seating configurations, acoustical considerations, performance and recording procedures, long-term programming and artistic development, social and organizational aspects of vocal ensemble.

122. Practicum in World Music Performance
(1) Staff
Prerequisites: consent of instructor. Passing of sophomore audition for Bachelor of Music Composition emphasis majors.
May be repeated for credit to a maximum of 6 units.
Applied instruction in non-Western instruments or vocal styles.

125. Advanced Voice
(1-4) Ingham, Mosher, Sokol
Prerequisite: passing of voice sophomore audition.
May be repeated for credit to a maximum of 36 units.
Advanced voice lessons. Taken for 4 units per quarter by BM Voice Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

126A. Advanced Double Bass
(1-4) Garber
Prerequisite: passing of double bass sophomore audition.
May be repeated for credit up to a maximum of 36 units.
Advanced double bass lessons. Taken for 4 units per quarter by BM Double Bass Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

126B. Advanced Cello
(1-4) Rutkowski
Prerequisite: passing of cello sophomore audition.
May be repeated for credit up to a maximum of 36 units.
Advanced cello lessons. Taken for 4 units per quarter by BM Cello Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

126C. Advanced Guitar
(1-4) Head
Prerequisite: passing of guitar sophomore audition.
May be repeated for credit up to a maximum of 36 units.
Advanced guitar lessons. Taken for 4 units per quarter by BM Guitar Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

126D. Advanced Viola
(1-4) Monke
Prerequisite: passing of viola sophomore audition.
May be repeated for credit up to a maximum of 36 units.
Advanced viola lessons. Taken for 4 units per quarter by BM Viola Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

126E. Advanced Violin
(1-4) Yaron
Prerequisite: passing of violin sophomore audition.
May be repeated for credit up to a maximum of 36 units.
Advanced violin lessons. Taken for 4 units per quarter by BM Violin Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

127A. Advanced Bassoon
(1-4) Radford
Prerequisite: passing of bassoon sophomore audition.
May be repeated for credit up to a maximum of 36 units.
Advanced bassoon lessons. Taken for 4 units per quarter by BM Bassoon Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

127B. Advanced Clarinet
(1-4) Bambach
Prerequisite: passing of clarinet sophomore audition.
May be repeated for credit up to a maximum of 36 units.
Advanced clarinet lessons. Taken for 4 units per quarter by BM Clarinet Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

127C. Advanced Flute
(1-4) Felber
Prerequisite: passing of flute sophomore audition.
May be repeated for credit up to a maximum of 36 units.
Advanced flute lessons. Taken for 4 units per quarter by BM Flute Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

127D. Advanced Oboe
(1-4) Horn
Prerequisite: passing of oboe sophomore audition.
May be repeated for credit up to a maximum of 36 units.
Advanced oboe lessons. Taken for 4 units per quarter by BM Oboe Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

128A. Advanced French Horn
(1-4) Gross
Prerequisite: passing of french horn sophomore audition.
May be repeated for credit up to a maximum of 36 units.
Advanced french horn lessons. Taken for 4 units per quarter by BM French Horn Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

128B. Advanced Trombone
(1-4) Booth
Prerequisite: passing of trombone sophomore audition.
May be repeated for credit up to a maximum of 36 units.
Advanced trombone lessons. Taken for 4 units per quarter by BM Trombone Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

128C. Advanced Trumpet
(1-4) Hungerford
Prerequisite: passing of trumpet sophomore audition.
May be repeated for credit up to a maximum of 36 units.
Advanced trumpet lessons. Taken for 4 units per quarter by BM Trumpet Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

128D. Advanced Tuba
(1-4) Booth
Prerequisite: passing of tuba sophomore audition.
May be repeated for credit up to a maximum of 36 units.
Advanced tuba lessons. Taken for 4 units per quarter by BM Tuba Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

128E. Advanced Euphonium/Baritone
(1-2) Booth
Prerequisite: passing of euphonium or baritone sophomore audition.
May be repeated for credit up to a maximum of 18 units.
Advanced euphonium or baritone lessons.

129. Advanced Percussion
(1-4) Nathan
Prerequisite: passing of percussion sophomore audition.
May be repeated for credit to a maximum of 36 units.
Advanced percussion lessons. Taken for 4 units per quarter by BM Percussion Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

133. Advanced Piano
(1-4) Oberacker, Berkowitz, Asche
Prerequisite: passing of piano sophomore audition. May be repeated for credit to a maximum of 36 units.
Advanced piano lessons. Taken for 4 units per quarter by BM Piano Emphasis and BM Piano Accompanying Emphasis majors, and for 1-2 units per quarter by all others. (F,W,S)

135A-B-C-D-E-F. Piano Accompanying
(2-2-2-2-2-2) Epperson
Prerequisites: Music 35A-B-C or Music 133 (may be taken concurrently); piano and accompanying emphasis majors only; consent of instructor.
May be repeated for credit to a maximum of 4 units each.
An advanced study of accompaniment repertoire and performance (art song, instrumental literature, orchestral transcription, sight-reading). (A,D:F; B,E:W; C,F:S)

150. Opera/Song Repertoire
(2) Sokol
Prerequisite: Music 25 or 33.
Letter grade required for majors. May be repeated for credit to a maximum of 12 units.
A detailed study of operatic literature and concert literature (lieder, melodies, songs, and pieces with instruments). The interpretation of vocal music as a preparation for performance. (F,W,S)

151. Vocal and Instrumental Coaching
(1) Epperson, Anglin, Juhn
Prerequisite: concurrent upper-division vocal or instrumental study (Music 125-129).
May be repeated for credit to a maximum of 9 units, but only 3 units may be applied toward the major.
Musical preparation of vocal or instrumental works.

155. Guitar Repertoire
(2) Head
Prerequisite: consent of instructor.
May be repeated for credit to a maximum of 6 units, but only 2 units may be applied toward the major.
A study of selected topics relating to the performance, composition, theory, and history of guitar music.

158A-B-C-D. Diction
(1-1-1-1) Ingham
Prerequisite: for Music 158A-B: Music 25. For Music 158C-D, primarily for voice majors; Music 25.
A. English diction (W)
B. Italian diction (F)
C. German diction (W)
D. French diction (S)

160A. Tonal Analysis
(3) Staff
Prerequisites: Music 4E and 5E.
Analysis of small-scale and large-scale formal structures through mid-classical period.

160B. Twentieth Century Analysis
(3) Hall
Prerequisites: Music 4E and 5E.
Analysis of non-tonal and twelve-tone music.

160C. Advanced Tonal Analysis
(3) Staff
Prerequisites: Music 4F, 5F, and 160A.
Continuation of Musics 160A, advanced tonal analysis through nineteenth century works.

160D. Tuning and Temperament
(3) Marcus
Prerequisite: consent of instructor.
Survey of a number of tuning systems found around the world, including those of ancient Greece, Europe, India, China, the Arab Middle East, Turkey, and Indonesia. The mathematical, aesthetic, and symbolic bases of each system will be considered.

160E. The Arabic System of Melodic Modes: The Maqamat
(3) Marcus
Prerequisite: consent of instructor.
An intensive examination of the system of melodic modes (maqamat) that governs present-day practice in the eastern Arab world. Emphasis given to theoretical issues (quarter tones, tetrachordal structures, and theories of intonation), analysis of standard repertoire, and procedures governing improvisation.

160F. Sound Color: Timbre and Music
(3) Fales
Prerequisite: consent of instructor.
"Sound color" refers to the quality or timbre of musical sound, whether instrumental, vocal, or synthetic. This course investigates timbre's special perceptual and cognitive qualities, as well as its unique expressive power in music.

161. Keyboard Literature
(3) Berkowitz
Prerequisites: Music 5F, 160A, 112D, and 112E (112E may be taken concurrently).
A study of the history and literature of keyboard music from the Baroque through the twentieth century.

162. Choral Literature
(3) Gervais
Prerequisites: three quarters of the Music 112A-F series.
A historical and analytical survey of major choral works from the seventeenth century to the present.

165. Art Song
(3) Beckerman
Prerequisites: three quarters of the Music 112A-F series.
The development of the art song with special emphasis on the poetry and musical styles which evolved in each historical period.

167. National Elements in Music
(3) Beckerman
Prerequisites: three quarters of the Music 112A-F series.
In-depth discussion and analysis of music concentrating on the nineteenth and twentieth centuries of a particular country.

168B. The Anthropology of Music
(3) Staff
Not open for credit to students who have completed Music 170A.
An examination of music performance traditions as cultural and social phenomena. Special attention given to theoretical formulations of musical anthropology.

168C. Music and Religion
(3) Staff
Not open for credit to students who have completed Music 166A.
An examination of the structural role and symbolic functions of music in religious systems. Case studies will be drawn from diverse world traditions.

168F. Cross-cultural Aesthetics of Music
(3) Staff
Not open for credit to students who have completed Music 194.
A cross-cultural examination of aesthetic values, theories, and practices. Case studies from diverse world traditions will include historical and contemporary perspectives.

168G. Other Issues in Ethnomusicology
(3) Staff
May be repeated for credit to a maximum of 12 units.
A study of other cultural issues in ethnomusicology. Specific issues or topics will vary by quarter and will be announced in advance by the department.

168X. Umm Kulthum: Her Music, Her Life, Her Times
(3) Marcus
Prerequisite: consent of instructor.
Analysis of the music, life and times of the predominant Arab singer of the twentieth century. Individual projects may focus on music or text analysis, issues of gender, nationalism, agency, performance, practice, and investigation of related arts (film, novels, etc.).

169. Notation and Transcription in Ethnomusicology
(3) Fales
Survey of existing notational systems and exercises in ethnomusicology and transcription, with particular attention to issues related to the visual representation of performed musical sound.

173. Studies in Music Theory
(3) Staff
Prerequisites: Music 5A-F.
May be repeated for credit to a maximum of 6 units.
Selected topics in musical analysis.

175A. Music Cultures of the World: Latin America and the Caribbean
(3) Staff
Not open for credit to students who have completed Music 193A or 194B.
Cultural and historical study of music in Latin America and the Caribbean. Emphasis on processes of musical acculturation and analysis of representative genres and works.

175C. Music Cultures of the World: Africa
(3) Fales
Not open for credit to students who have completed Music 193 or 193C.
An intensive study of the music traditions of sub-Saharan Africa. Topics include historical background, vocal and instrumental performance traditions, dance, musicians, and analysis of musical structure.

175E. Music Cultures of the World: China
(3) Hsu
Not open for credit to students who have completed Music 132 or 193E.
An examination of universal music issues through case studies of Chinese musical works, musicians, theories, and practices. Special attention given to interdisciplinary understanding of Chinese music and culture.

175F. Music Cultures of the World: The Middle East
(3) Marcus
Not open for credit to students who have completed Music 121 or 193F.
Arab, Turkish, and Persian music traditions from historical, cultural, and musicological perspectives. Emphasis given to the position of music in Islam, present-day performers, and modal and rhythmic structures.

175G. Music Cultures of the World: India
(3) Marcus
Not open for credit to students who have completed Music 116 or 193G.
A survey of music traditions of the Indian subcontinent from classical to folk and popular. Emphasis on the position of music in Hindu philosophy, the role of music in society, musical instruments, and modal and rhythmic structures (raga and tala).

175J. Music Cultures of the World: Pacific Islands
(3) Staff
Not open for credit to students who have completed Music 193J.
An examination of themes and issues relevant to Pacific Islands performance traditions including interpretation of sources, musical ramifications of intercultural contacts, and contemporary performance contexts.

175K. Music Cultures of the World: Other Regions
(3) Staff
May be repeated for credit to a maximum of 12 units.
A study of music traditions and genres from other regions of the world. Specific regions studied will vary by quarter and will be announced in advance by the department.

176. Studies in Ethnomusicology
(3) Staff
Prerequisites: upper-division standing.
An introduction to the field of ethnomusicology using theories and methods derived from the social sciences and humanities. Topic areas to include transcription and analysis, musicians, musical instruments, music acculturation, and the function of music in society.

178A-B. Performance Practices
(3-3) Kraft
Prerequisites: three quarters of the Music 112A-F series.
A. A study, through selected works, of historical performance practices of vocal and instrumental music from the Middle Ages through the romantic era. Problems to be treated will include instrumentation, ornamentation, figured bass, rhythm, tempo, articulation, and expression.
B. A study, through selected works, of performance practices of twentieth-century music, with particular attention to new notational concepts and their execution.

179. Studies in Medieval Music
(3) Staff
Prerequisites: Music 112A and two additional quarters of the Music 112A-F series.
Introduction to the liturgy and music of the Middle Ages.

181. Studies in Baroque Music
(3) Prizer
Prerequisites: Music 112C and two additional quarters of the Music 112A-F series.
A selective study of various stylistic and historical aspects of baroque music.

182. Studies in Classical Music
(3) Staff
Prerequisites: Music 112D and two additional quarters of the Music 112A-F series.
A study of the classical style from its source in the early eighteenth century to its culmination in the works of Haydn, Mozart, and Beethoven.

183. Studies in Romantic Music
(3) Beckerman
Prerequisites: Music 112E and two additional quarters of the Music 112A-F series.
The development of romanticism from eighteenth-century sources through the works of Strauss and Mahler.

184. Studies in Contemporary Music
(3) Staff
Prerequisites: Music 112F and two additional quarters of the Music 112A-F series.
A course which traces the stylistic development of music since 1910 and discusses various trends in compositional techniques.

187. Strauss and Hofmannsthal
(3) Hsu
Prerequisites: Music 112E and two additional quarters from the Music 112A-F series.
A course in the collaboration between composer and poet. A study of the operas, the correspondence, and related developments in German music in the early twentieth century.

188. Ethnomusicology Forum
(1) Staff
Prerequisite: consent of instructor.
May be repeated for credit in combination with Music 172 to a maximum of 6 units.
A forum for the presentation of research and performances by students, faculty, and visiting scholars and performers. Students must be currently involved in a research project. (F,W,S)

191. Special Topics
(2-4) Staff
Prerequisites: upper-division standing; consent of instructor.
May be repeated for credit to a maximum of 12 units.
Special seminar in selected problems of current musicology, ethnomusicology, theory, or performance.

192. B.A. Senior Project
(3) Staff
Prerequisites: open to senior music majors only.
Preparation of senior audition, composition, or paper.

195. Junior Recital
(2) Staff
Prerequisite: passing of B.M. sophomore audition; open to upper-division bachelor of music performance emphasis majors only.
Preparation of junior recital.

195B. Junior Composition Portfolio
(2) Staff
Prerequisites: passing of B.M. sophomore composition portfolio; consent of instructor; open to upper-division bachelor of music composition emphasis majors only.
Preparation of junior composition portfolio.

196. Honors Music
(4) Staff
Prerequisites: upper-division standing; honors students only; consent of instructor and department.
An undergraduate seminar for honor students. Carefully selected topics intended to foster excellence in research, theory, composition, or performance.

197. Senior Recital
(3) Staff
Prerequisites: passing of junior recital; open to senior bachelor of music performance emphasis majors only.
Preparation of senior recital.

197B. Senior Composition Portfolio and Recital
(3) Staff
Prerequisites: passing of junior composition portfolio; consent of instructor; open to senior bachelor of music composition emphasis majors only.
Preparation of senior composition portfolio.

198. Readings in Music
(1-4) Staff
Prerequisites: upper-division standing; completion of three quarters of the Music 112A-F series; consent of instructor.
Students must have a minimum 3.0 cumulative grade-point average and are limited to 5 units per quarter and 30 units total in all 98/99/198/199/199DC/199RA courses combined. Music 198 may be repeated to a maximum of 16 units.
Critical review and discussion of related topics in musicology, ethnomusicology, composition, theory, or performance.

199. Individual Research in Music
(1-4) Staff
Prerequisites: upper-division standing; completion of three quarters of the Music 112A-F series; consent of instructor.
Students must have a minimum 3.0 cumulative grade-point average and are limited to 5 units per quarter and 30 units total in all 98/99/198/199/199DC/199RA courses combined. Music 199 may be repeated to a maximum of 16 units. No more than 4 units may be applied to the music major.
Independent research under the guidance of a faculty member in the department. Course offers qualified students the opportunity to undertake independent research or work in a research group in topics in musicology, ethnomusicology, composition, theory, or performance.

199RA. Independent Research Assistance in Music
(1-4) Staff
Prerequisites: upper-division standing; completion of two upper-division courses in Music; consent of instructor and department.
Students must have a minimum 3.0 grade-point average for the preceding three quarters. No more than 4 units in combination with Music 199 may be applied to major. Students are limited to 5 units per quarter and 30 units total in all 98/99/198/199/199DC/199RA courses combined. Students are limited to 4 units per quarter and 16 units total in all Music 198/199/199RA courses.
Faculty supervised research assistance.

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Graduate Courses

200A. Bibliography and Research Techniques
(4) Staff
Primarily intended for the M.A. and Ph.D. graduate student in music.
A survey of music bibliography and research methods.

200B. Bibliography and Research Techniques
(4) Staff
Primarily intended for the M.A. and Ph.D. graduate student in musicology or theory.
Individual research projects and discussions designed to give the graduate student understanding of the different approaches to historical and systematic musicology.

200C. Bibliography and Research Techniques
(4) Hsu
Primarily intended for Ph.D. students in ethnomusicology.
Survey of bibliographic sources and individual research projects in ethnomusicology.

200D. Bibliography and Research Techniques
(4) Staff
Primarily intended for M.A. and Ph.D. students in theory.
A survey of music bibliography and research methods in theory.

201A-C. Notation and Music: Their Historical Interrelation
(4-4) Prizer
A. Plainchant-early polyphony-modal notation.
C. White mensural notation, lute and keyboard tablatures.

202A-B. Seminar in Musicology
(4-4) Staff
Prerequisites: M.A. or equivalent with consent of instructor.
For advanced students only. A two-quarter in-progress sequence course with grades for both quarters issued upon completion of 202B. May be repeated for credit.
A two-quarter doctoral seminar dealing with selected topics in musicology.

203MT. MusicologyTheory Forum
(1) Staff
Prerequisites: graduate standing with musicology or theory emphasis.
A monthly meeting of musicology and theory students, faculty, and visiting scholars to present their current research.

204A. Graduate Musicianship I
(1) Staff
An introduction for graduate students who fail the musicianship placement exam. 204A reviews diatonic ear-training skills and their relation to theory. All graduate students encouraged to enroll; theory/composition students should especially consider 204A as a pedagogical study.

204B. Graduate Musicianship II
(1) Staff
Prerequsite: Music 204A.
Continues skills of 204A; reviews musicianship skills for modulation. All graduate students encouraged to enroll; theory/composition students should especially consider 204B as a pedagogical study of musicianship.

207A-B. Seminar in Orchestration
(4-4) Kraft
Prerequisite: graduate standing in composition.
A. Instrumental families of the orchestra.
B. Writing for full orchestra.

208. Graduate Composition
(4) Kraft
Prerequisite: consent of instructor.
Required for M.A. and Ph.D. in composition. Repeat for credit to the 24 unit requirement (6 quarters).
Individual instruction in composition.

209IA. Direct Digital Synthesis, Processing and Composition
(4) Kuchera-Morin
Prerequisites: graduate music majors and graduate non-majors in areas of electrical engineering, computer science, physics and mathematics; consent of instructor.
First quarter of general purpose computing for computer music applications. Topics include: introduction to the UNIX operating system and the vi editor, music synthesis using C-based computer programs, and score input programs.

209IB. Direct Digital Synthesis, Processing and Composition
(4) Kuchera-Morin
Prerequisite: Music 209IA.
Second quarter of a 3-quarter sequence course will concentrate on computer music instrument design using C-based music software and exploring applications of frequency modulation, amplitude modulation, additive/subtractive synthesis, digital signal processing, and computer music composition.

209LA. Real-Time Digital Music Synthesis, Processing and Composition
(2) Kuchera-Morin, Roads
Prerequisites: graduate music majors and graduate non-majors in areas of electrical engineering, computer science, physics, and math; consent of instructor.
First quarter of a 3-quarter sequence course will concentrate on multi-track recording, mixing, digital signal processing using micro-computers and special purpose dsp equipment.

209LB. Real-Time Digital Music Synthesis, Processing and Composition
(2) Kuchera-Morin, Roads
Prerequisite: Music 209LA.
Second quarter of a 3-quarter sequence course will concentrate on digital synthesis (primarily frequency modulation, simple and complex; but also amplitude modulation and additive synthesis) using micro-computers, digital synthesizers and processing equipment.

209LC. Real-Time Digital Music Synthesis, Processing and Composition
(2) Kuchera-Morin, Roads
Prerequisites: Music 209LA and 209LB.
Third quarter of a 3-quarter sequence course will concentrate on real-time computer music composition with micro-computer and digital synthesis/processing equipment.

209N. Special Topics in Electronic Music
(3) Kuchera-Morin, Roads
Prerequisite: Music 209L.
May be repeated for credit to a maximum of 12 units.
Advanced topics in computer music composition, synthesis, and digital signal processing.

211A-B-C. Twentieth Century Techniques
(4-4-4) Feigin
Prerequisite: passing grade on all theory placement guidance examinations.
A detailed study of twentieth-century compositional techniques. Extensive compositional exercises will be required in whole-tone, pentatonic, quartal, pitch-set, tone-row, process, percussion, and aleatoric composition.

212A. Canon and Fugue
(4) Feigin
Prerequisite: passing grade on all theory placement guidance examinations.
A detailed study of Bach's canons and fugues, including invertible counterpoint, stretto, triple and quadruple counterpoint, as well as extensions by later and contemporary composers. Extensive compositional exercises required.

219. Applied Instruction
(2) Staff
Prerequisite: graduate standing. Enrollment by audition.
Not for the performance emphasis in MM or DMA degree programs. May be repeated for credit.
Applied vocal or instrumental instruction for graduate students other than in the performance emphasis discipline of MM and DMA degree programs.

220. Graduate Performance
(3-4) Staff
Prerequisite: entrance audition for MM or DMA degree program.
May be repeated for credit. (MM Piano Accompanying: 3 units.)
Applied instruction in the performance emphasis discipline (MM Piano Accompanying: instruction in piano) of MM and DMA degree programs.

222X. Practicum in World Music Performance
(1-2) Marcus
Prerequisites: graduate standing; consent of instructor.
May be repeated for credit.
Individual or group instruction in non-western instruments or vocal styles.

224. Organology
(4) Hsu
A systematic study of musical instruments in world cultures involving classification, distribution, acoustical phenomena, and physical typologies. Emphasis on cross-cultural, comparative analysis of solo and ensemble groupings, and the role of musical instruments in the study of acculturation, historical diffusion, and aesthetics.

225. Field and Laboratory Methods in Ethnomusicology
(4) Staff
Prerequisite: Music 276.
The development and execution of field research designs. Practical field experience using various techniques of data collection and management, including music recording, photography, filming, questionnaires, and interviewing. The use and interpretation of standard and innovative laboratory methods for processing data, including computer analysis.

226. Notation and Transcription in Ethnomusicology
(4) Staff
Survey of existing notational systems and exercises in ethnomusicaological transcription, with particular attention to issues related to the visual representation of performed musical sound.

227A-B. Seminar in Ethnomusicology
(4-4) Staff
Prerequisite: graduate standing in ethnomusicology.
A two-quarter in-progress sequence course with grades issued for both quarters upon completion of Music 227B.
A two-quarter graduate seminar examining special problems, current theories, analytic procedures, and recent innovations in ethnomusicology.

230. Orchestral Conducting
(2) Staff
Prerequisite: enrollment by audition.
May be repeated for credit.
Advanced conducting techniques, score reading and analysis, general rehearsal procedures and repertoire for each type of ensemble: symphony, chamber orchestra and large vocal/instrumental ensembles. (F,W,S)

231. Choral Conducting
(2) Gervais
Prerequisite: enrollment by audition.
May be repeated for credit.
Advanced conducting techniques, score reading and analysis, rehearsal techniques and repertoire for vocal and choral ensembles. (F,W,S)

231T. Choral Techniques
(2) Gervais
Prerequisites: Music 231 (may be taken concurrently); consent of instructor.
Aspects of choral techniques including: development of concert programs and rehearsal plans, rehearsal procedures, types of vocal ensembles and seating configurations, acoustical considerations, performance and recording procedures, long-term programming and artistic development, social and organizational aspects of vocal ensemble.

233. Score Reading
(2) Staff
Prerequisite: consent of instructor.
Required for M.M. and D.M.A. degrees in Conducting. May be repeated for credit.
A practical survey of score-reading of selected orchestral scores of the eighteenth, nineteenth, and twentieth centuries including a detailed study of the necessary transcriptions and their relationship to the various clefs.

235A-B-C. Accompanying Techniques and Repertoire
(2-3,2-3,2-3) Epperson
Prerequisite: consent of instructor. (3 units: M.M. Piano Accompaying)
Emphasizes advanced accompaniment techniques, the intensive study of the French and German song cycle, secco recitative, and orchestral score-reading.

239. Advanced Study of Orchestral Repertoire for Instrumentatlists
(2) Staff
Master class format instruction, preassigned and prepared excerpts of key repertoire encountered in orchestral auditions and orchestral works. Discussions focus on what the audition committee listens for in each excerpt and in each individual's playing.

250A-B. Seminar in Music Theory
(4-4) van den Toorn, Hall
Topics in theoretical research. Content will vary depending on instructor.
A. Analysis and theory of atonal music.
B. Analysis and theory of twelve-tone music.

251A-B. Seminar in the History of Theory
(4-4) Rothfarb, van den Toorn
A. History of early music theory.
B. History of music theory from Rameau to Schenker.

252A-B. Seminar in Schenkerian Analysis
(4-4) Rothfarb
Must be taken in consecutive order.
A. Readings in the theory of Schenkerian analysis. Basic analytical techniques.
B. Advanced reading in Schenkerian theory. Analysis of large forms.

257. Composition Forum
(1) Staff
Prerequisite: Music 208.
May be repeated for credit to a maximum of 16 units.
A forum for the presentation and discussion of new works by students, faculty and guest composers. (F,W,S)

258. Opera/Song Repertoire
(2) Epperson
Prerequisite: consent of instructor.
A detailed study of operatic literature and concert literature (Lieder, melodies, songs, and pieces with instruments). The interpretation of vocal music as a preparation for performance.

259. Keyboard Literature
(4) Berkowitz
Prerequisite: graduate standing.
A study of the history and literature of keyboard music from the baroque through the twentieth century.

260D. Tuning and Temperament
(4) Marcus
Prerequisite: consent of instructor.
The course surveys a number of tuning systems around the world, including those of ancient Greece, Europe, India, China, the Arab Middle East, Turkey, and Indonesia. The mathematical, aesthetic, and symbolic basis of each system will be considered.

260E. The Arabic System of Melodic Modes (Maqamat)
(3) Marcus
Prerequisites: graduate standing; consent of instructor.
Examination of the system of melodic modes (maqamat) governing present-day melodic practice in the eastern Arab world. Emphasis given to theoretical issues (quarter tones, tetrachordel structures, and theories of intonation), analysis of pieces in the repertoire, and procedures governing improvisation.

260F. Sound Color
(4) Fales
Prerequisites: graduate standing; consent of instructor.
"Sound color" refers to the quality or timbre of musical sound, whether instrumental, vocal, or synthetic. This course investigates timbre's special perceptual and cognitive qualities, as well as its unique expressive power in music.

261A. Seminar in Music of the Middle Ages
(4) Staff
Origins, evolution, and structure of Christian liturgy and chant.

262B. Anthropology of Music
(4) Staff
Examination of music performance traditions as cultural and social phenomena. Special attention given to theoretical formulations of musical anthropology.

262C. Music and Religion
(4) Staff
An examination of the structural role and symbolic functions of music in religious systems. Case studies will be drawn from diverse world traditions.

262F. Cross-Cultural Aesthetics of Music
(4) Hsu
A cross-cultural examination of aesthetic values, theories, and practices. Case studies from diverse world traditions will include historical and contemporary perspectives.

262G. Other Issues in Ethnomusicology
(4) Staff
May be repeated for credit to a maximum of 16 units provided topics are different.
A study of other cultural issues in ethnomusicology. Specific topics will vary by quarter and will be announced in advance by the department.

262X. Umm Kulthum: Her Music, Her Life, Her Times
(4) Marcus
Prerequisite: consent of instructor.
Analysis of the music, life and times of the predominant Arab singer of the twentieth century. Individual projects may focus on music or text analysis, issues of gender, nationalism, agency, performance, practice, and investigation of related arts (film, novels, etc.).

265A-B. Seminar in Music of the Baroque Period
(4-4) Prizer
A. Early baroque.
B. Late baroque.

266A. Seminar in Music of the Classical Period
(4) Freeman
A study of classical style through selective forms.

268A-B. Seminar in Music of the Romantic Period
(4-4) Beckerman
A. Study of the origins of romantic music and its development to 1850.
B. Study of late romanticism with special emphasis on music at the turn of the century.

269A-B. Seminar in Music of the Twentieth Century
(4-4) Staff
A. Style and theory.
B. Special topics.

273. Studies in Music Theory
(4) Staff
Selected topics in musical analysis.

275. Seminar in Music Criticism
(4) Hsu
Investigation of important critical writing in music from the early eighteenth century to the present with study of related works in the field of aesthetics. Analysis of the scope and impact of criticism in the musical life of each period.

276. Studies in Ethnomusicology
(4) Staff
An introduction to the field of ethnomusicology using theories and methods derived from the social sciences and humanities. Topic areas to include transcription and analysis, musicians, musical instruments, music acculturation, and the function of music in society.

278A-B. Performance Practices
(4-4) Kraft
A. A study, through selected works, of historical performance practices of vocal and instrumental music from the Middle Ages through the romantic era. Problems to be treated will include instrumentation, ornamentation, figured bass, rhythm, tempo, articulation, and expression.
B. A study, through selected works, of twentieth-century music with particular attention to new notational concepts and their execution.

279. Studies in Medieval Music
(4) Staff
Introduction to the liturgy and music of the Middle Ages.

282. Studies in Classical Music
(4) Staff
A study of the classical style from its source in the early eighteenth century to its culmination in the works of Haydn, Mozart, and Beethoven.

283. Studies in Romantic Music
(4) Beckerman
The development of music since 1810 and various trends in composition.

284. Studies in Contemporary Music
(4) Staff
Prerequisite: graduate standing.
A course which traces the stylistic development of music since 1910 and discusses various trends in compositional techniques.

287. Strauss and Hofmannsthal
(4) Hsu
A course in the collaboration between composer and poet. A study of the operas, the correspondence, and related developments in German music in the early 20th century.

288. Ethnomusicology Forum
(2) Staff
Not open for credit to students who have completed Music 222.
A forum for the presentation of research and performances by students, faculty, and visiting scholars and performers. Students must be currently involved in a research or performance project.

291. Studies in Renaissance Music
(4) Prizer
Cantus firmus settings of the fifteenth century. Chanson and motet. The parody mass of the sixteenth century.

292. Studies in Baroque Music
(4) Prizer
A selective study of various stylistic and historical aspects of baroque music.

293A. Music Cultures of the World: Latin America and the Caribbean
(4) Staff
Not open for credit to students who have completed Music 294B.
Cultural and historical study of music in Latin America and the Caribbean. Emphasis on processes of musical acculturation and analysis of representative genres and works.

293C. Music Cultures of the World: Africa
(4) Fales
Not open for credit to students who have completed Music 293.
An intensive study of the music traditions of sub-Saharan Africa. Topics include historical background, vocal and instrumental performance traditions, dance, musicians, and analysis of musical structure.

293E. Music Cultures of the World: China
(4) Staff
Not open for credit to students who have completed Music 223.
Examination of universal music issues through case studies of Chinese musical works, musicians, theories and practices. Special attention given to interdisciplinary understanding of Chinese music and culture.

293F. Music Cultures of the World: Middle East
(4) Marcus
Prerequisite: graduate standing.
Not open for credit to students who have completed Music 221.
Arab, Turkish, and Persian music traditions from historical, cultural, and musicological perspectives. Emphasis given to the position of music in Islam, present-day performers, and modal and rhythmic structures.

293G. Music Cultures of the World: India
(4) Marcus
Prerequisite: graduate standing.
Not open for credit to students who have completed Music 216.
A survey of music traditions of the Indian subcontinent from classical to folk and popular. Emphasis given to the position of music in Hindu philosophy, the role of music in society, musical instruments, and modal and rhythmic structures (raga and tala).

293J. Music Cultures of the World: Pacific Islands
(4) Staff
Not open for credit to students who have completed Music 217.
Examination of themes and issues relevant to Pacific Islands performance traditions including interpretation of sources, musical ramifications of intercultural contacts, and contemporary performance contexts.

293K. Music Cultures of the World: Other Regions
(4) Staff
May be repeated for credit to a maximum of 16 units provided region studied is different.
A study of the music traditions and genres from other regions of the world. Specific regions studied vary from quarter to quarter and will be announced in advance by the department.

295A-B. Master of Music Performances
(2-2) Staff
Prerequisite: master of music students only. Recital audition required.
Preparation of:
A. A full-length recital, Conducting: the equivalent of a full-length concert.
B. A major performance: chamber music recital, concerto, major opera/oratorio role, or another full-length recital. Conducting: the equivalent of a chamber ensemble, small ensemble, large ensemble, or mixed concert.

296AA-ZZ. Performance Literature
(4) Staff
A study of problems in the analysis and performance of major works in selected repertoire.
A. Piano
B. Strings
C. Voice
D. Orchestral
E. Choral
F. Woodwinds
G. Brass

297A-B. Doctor of Musical Arts Performances
(2-2) Staff
Prerequisite: DMA (including MM Plan 2) students only. Recital audition required.
Preparation of:
A. Chamber music recital, concerto, major opera/oratorio role, or a full-length recital. Conducting: the equivalent of a chamber ensemble, small ensemble, large ensemble, or mixed concert.
B. A full-length recital. Conducting: the equivalent of a full-length concert.

299A-B. Doctor of Musical Arts Seminar: Historical/Theoretical Aspects of Music.
(4-4) Staff
Prerequisite: Music 200A.
A study of selected repertories, not confined to a single genre or period, from the technical perspective of music theory and history.

501. Directed Teaching in Music
(2-4) Staff
Prerequisite: appointment as teaching assistant.
Covers development of teaching techniques especially oriented to lower-division instruction. Theoretical aspects covered at beginning of each quarter offered. Practical techniques discussed including weekly meeting with class instructor. Required course for all teaching assistants. (F)

502. Teaching Practicum
(2-4) Staff
Prerequisite: appointment as teaching assistant or associate.
No unit credit allowed toward advanced degree.
Teaching assistant: leads discussion of topics covered in the lecture. Associate: assumes full responsibility for the teaching of one or more courses. (F,W,S)

594AA-ZZ. Special Topics
(2-4) Staff
Special seminar in selected problems of current musicology, ethnomusicology, composition, theory, or performance. (F,W,S)

595. Group Studies
(2-4) Staff
Critical review of research in selected problems of musicology, ethnomusicology, composition, theory, or performance. (F,W,S)

596. Directed Reading and Research
(2-4) Staff
Individual tutorial for research in musicology, ethnomusicology, composition, theory, or performance; instructor will usually be student's major professor. (F,W,S)

597. Individual Study for Master's Comprehensive and Doctoral Qualifying Examinations for Advancement to Candidacy
(1-12) Staff
Prerequisites: consent of instructor and graduate advisor.
No unit credit allowed toward advanced degree.

598. Preparation for the Master's Degree
(1-12) Staff
No unit credit allowed toward advanced degree.
Instructor will be chair of student's committee in musicology, ethnomusicology, composition, theory, or performance.

599A. Ph.D. Dissertation Research and Preparation
(1-12) Staff
No unit credit allowed toward advanced degrees.
Instructor will ordinarily be chair of student's doctoral committee. (F,W,S)

599B. Preparation for DMA Post-Candidacy Recitals
(1-12) Staff
No unit credit allowed toward advanced degrees.
Preparation of two full-length recitals (conducting: the equivalent of two full-length concerts) required after advancement to candidacy for the DMA degree. Instructor should be student's performance instructor: ordinarily chair of DMA Committee. (F,W,S)

599C. Preparation of DMA Document
(1-12) Staff
No unit credit allowed toward advanced degrees.
Preparation of the DMA document required after advancement to candidacy for the DMA degree. Instructor should be a member of student's doctoral committee.

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Related Courses in Other Departments
Interdisciplinary: 188A-B, 288A-B.

Lower Division

Music courses A36 through A70 may be repeated for credit to a maximum of 6 units with the exception of Music A44 and A42. Enrollment by audition (with the exception of A70's). For lower-division students only.

A34. Wind Ensemble
(1) Bambach
Masterworks of the literature for ensembles smaller than orchestral or full band scoring. Although the basic ensembles feature winds, both strings and percussion are utilized. Advanced players only.

A36A-B-C. Chamber Choir
(1-1-1) Gervais
Prerequisites: Music A36A for Music A36B; Music A36B for Music A36C.
A select ensemble for singers and instrumentalists, the Chamber Choir prepares musicians for professional ensemble work and offers specialized study in choral literature, techniques, styles and interpretation covering five centuries of choral repertoire.

A37A-B-C. University Singers
(1-1-1) Gervais
Prerequisites: Music A37A for Music A37B, Music A37B for Music A37C.
University Choir. (A:F,B:W,C:S)

A38. Opera Workshop
(1) Sokol
Prerequisite: by audition.
Letter grade required for majors. May be repeated for credit to a maximum of 6 units.
Participation in opera scenes.

A38P. Opera Production
(1) Staff
Prerequisite: by audition.
Letter grade required for majors. May be repeated for credit to a maximum of 3 units.
Participation in annual opera production.

A39. Guitar Ensemble
(1) Head
(F,W,S)

A40. Contemporary Music Ensemble
(1) Kraft
Reading sessions and preparation for performace of contemporary music. There will be two concerts each quarter. Both the Anacapa Quartet and the Young Artists Quartet will be involved in the concert each quarter.

A41. Piano Ensemble
(1) Asche, Berkowitz
Prerequisite: by audition.
May be repeated for credit to a maximum of 6 units.
Piano duets (1 piano, 4 hands) and duos (2 pianos) in separate sections. (F,W,S)

A42. Orchestra
(2) Schindler
(F,W,S)

A43. Flute Choir
(1) Felber
The Flute Choir studies flute literature in depth, perfects technique and interpretation, employs the complete flute family of Bass, Alto flutes, and piccolos. Prepares ensemble for public performances each quarter.

A44. Chamber Music Ensemble
(1) Staff
(F,W,S)

A45. Brass Quintet
(1) Gross
Prerequisite: by audition; upper-division standing.
May be repeated for credit to a maximum of 6 units.
Participation in scholarship brass quintet.

A45H. Horn Ensemble
(1) Gross

A46. Clarinet Choir
(1) Bambach

A47S. Jazz Ensemble
(1) Nathan
Instruction in interpretation and performance of jazz music. Improvization is stressed. Audition is required.

A48. Early Music Choir
(1) Staff
Prerequisites: enrollment by audition.
For lower-division students.
Performance workshop in Medieval and Renaissance music. Specializes in vocal music, particularly choral.

A48S. Collegium Musicum: Musica Antiqua
(1) Staff
Performance workshop in Medieval and Renaissance music. Specializes in instrumental and solo vocal music. (F,W,S)

A49. Percussion Ensemble
(1) Nathan
Rehearsal and performance of standard percussion ensemble literature. Instruction of appropriate playing techniques for standard and exotic percussion instruments.

A70AA-ZZ. Ethnomusicology Performance Ensemble
(1) Staff
Prerequisite: enrollment by audition with the exception of Music A70J.
Group performance of music from selected world cultures: (F,W,S)
A. American Folk Music
I. Indian Music
J. Beginning Gamelan
K. Advanced Gamelan
M. Middle East Music
N. Middle Eastern Chorus
P. West African Drumming
V. Gospel Choir

A70N. Middle East Chorus
(1) Marcus
May be repeated to a maximum of 6 units.
Already a long-standing class taught as a subsection of A70M. Will be given concurrently with A170N and A270N.
The chorus learns a variety of songs from Arab, Armenian, Greek, Persian, and Turkish music cultures and performs with the Middle East Ensemble.

Upper Division

Music courses A134 through A170 may be repeated for credit to a maximum of 9 units with the exception of Music A132A-B-C, A142, and A144. Enrollment by audition, with the exception of A170J. For upper-division students only.

A132A-B-C. Young Soloists Ensemble
(1-1-1) Gervais
Prerequisites: Music A132A for A132B; Music A132B for A132C; concurrent enrollment in Music
A36A-B-C or A136A-B-C; consent of instructor.
May be repeated for credit to a maximum of 12 units, but only 6 unit may be applied toward the major.
A specialized select ensemble for singers as part of a professional apprenticeship program

A134. Wind Ensemble
(1) Staff
Prerequisite: enrollment by audition.
For upper-division students.
Masterworks of the literature for ensembles smaller than orchestral or full band scoring. Although the basic ensemble feature winds, both strings and percussion are utilized. Advanced players only.

A136A-B-C. Chamber Choir
(1-1-1) Gervais
Prerequisites: Music A136A for Music A136B; Music A136B for Music A136C.
A select ensemble for singers and instrumentalists, the Chamber Choir prepares musicians for professional ensemble work and offers specialized study in choral literature, techniques, styles and interpretation covering five centuries of choral repertoire.

A137A-B-C. University Singers
(1-1-1) Gervais
Prerequisites: Music A137A for Music A137B; Music A137B for Music A137C.
University Choir. (A:F,B:W,C:S)

A138. Opera Workshop
(1) Sokol
Prerequisite: by audition.
Letter grade required for majors. May be repeated for credit to a maximum of 9 units.
Participation in opera scenes.

A138P. Opera Production
(1) Staff
Prerequisite: by audition.
Letter grade required for majors. May be repeated for credit to a maximum of 9 units.
Participation in annual opera production.

A139. Guitar Ensemble
(1) Head
(F,W,S)

A140. Contemporary Music Ensemble
(1) Kraft
Reading sessions and preparation for performance of contemporary music. There will be two concerts each quarter. Both the Anacapa Quartet and the Young Artists Quartet will be involved in the concert each quarter.

A141. Piano Ensemble
(1) Asche, Berkowitz
Piano duets (1 piano, 4 hands) and duos (2 pianos) in separate sections. (F,W,S)

A142. Orchestra
(2) Schindler
May be repeated for credit to a maximum of 18 units.
(F,W,S)

A143. Flute Choir
(1) Felber
The Flute Choir studies flute literature in depth, perfects technique and interpretation, employs the complete flute family of Bass, Alto flutes, and piccolos. Prepares ensemble for public performances each quarter.

A144. Chamber Music Ensemble
(2) Staff
May be repeated for credit to a maximum of 18 units.
(F,W,S)

A145. Brass Quintet
(1) Gross
Prerequisites: by audition; upper-division standing.
May be repeated for credit to a maximum of 9 units.
Participation in scholarship brass quintet.

A145H. Horn Ensemble
(1) Gross

A146. Clarinet Choir
(1) Bambach

A147S. Jazz Ensemble
(1) Nathan
Instruction in interpretation and performance of jazz music. Improvization is stressed. Audition is required.

A148. Early Music Choir
(1) Staff
Performance workshop in Medieval and Renaissance music. Specializes in vocal music, particularly choral.

A148S. Collegium Musicum: Musica Antiqua
(1) Staff
Performance workshop in Medieval and Renaissance music. Specializes in instrumental and solo vocal music. (F,W,S)

A149. Percussion Ensemble
(1) Nathan
Rehearsal and performance of standard percussion ensemble literature. Instruction of appropriate playing techniques for standard and exotic percussion instruments.

A170AA-ZZ. Ethnomusicology Performance Ensemble
(1) Staff
Prerequisite: enrollment by audition with the exception of Music 170J.
Group performance of music from selected world cultures: (F,W,S)
A. American Folk Music
I. Indian Music
J. Beginning Gamelan
K. Advanced Gamelan
M. Middle East Music
N. Middle Eastern Chorus
P. West African Drumming
V. Gospel Choir

A170N. Middle East Chorus
(1) Marcus
May be repeated to a maximum of 9 units, but only 6 units may be applied toward the major.
Already a long-standing class taught as a subsection of A70M. Will be given concurrently with A70N and A270N.
The chorus learns a variety of songs from Arab, Armenian, Greek, Persian, and Turkish music cultures and performs with the Middle East Ensemble.

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Graduate Courses

Music courses A232 to A270 may be repeated for credit to a maximum of 12 units. Enrollment by audition (with the exception of A270J). For graduate students only.

A232A-B-C. Young Soloists Ensemble
(2-2-2) Gervais
Prerequisites: Music A232A for Music A232B; Music A232B for Music A232C; consent of instructor.
A specialized select ensemble for singers as part of a professional apprenticeship program, which requires concurrent enrollment in Music 236A-B-C or 231.

A234. Wind Ensemble
(2) Bambach
Masterworks of the literature for ensembles smaller than orchestral or full band scoring. Although the basic ensembles feature winds, both strings and percussion are utilized. Advanced players only.

A236A-B-C. Chamber Choir
(2-2-2) Gervais
Prerequisite: Music A236A for Music A236B; Music A236B for Music A236C.
A select ensemble for singers and instrumentalists, the Chamber Choir prepares musicians for professional ensemble work and offers specialized study in choral literature, techniques, styles and interpretation covering five centuries of choral repertoire.

A237A-B-C. University Singers
(2-2-2) Gervais
Prerequisite: Music A237A for Music A237B; Music A237B for Music A237C.
University Choir.

A238. Opera Workshop
(2) Sokol
Prerequisite: by audition.
May be repeated for credit to a maximum of 12 units. Letter grade required for majors, optional grading for non-majors.
Participation in opera scenes.

A238P. Opera Production
(2) Staff
Prerequisite: by audition.
May be repeated for credit to a maximum of 12 units. Letter grade required for majors, optional grading for non-majors.
Participation in annual opera production.

A239. Guitar Ensemble
(2) Head
(F,W,S)

A240. Contemporary Music Ensemble
(2) Kraft
Reading sessions and preparation for performance of contemporary music. There will be two concerts each quarter. Both the Anacapa Quartet and the Young Artists Quartet will be involved in the concert each quarter.

A241. Piano Ensemble
(2) Asche, Berkowitz, Oberacker
Primarily for MM and DMA students in piano.
Piano duets (1 piano, 4 hands) and duos (2 pianos) in separate sections.

A242. Orchestra
(2) Schindler
(F,W,S)

A243. Flute Choir
(2) Felber

A244. Chamber Music Ensemble
(2) Staff
(F,W,S)

A245. Brass Quintet
(2) Gross
Prerequisites: by audition; graduate standing.
May be repeated for credit to a maximum of 12 units.
Partcipation in scholarship brass quintet.

A245H. Horn Ensemble
(2) Gross

A246. Clarinet Choir
(2) Bambach

A247S. Jazz Ensemble
(2) Nathan

A248. Early Music Choir
(2) Staff
Early music choir. (F,W,S)

A248S. Collegium Musicum: Musica Antiqua
(2) Planchart
Performance workshop in Medieval and Renaissance music. Specializes in instrumental and solo vocal music.

A249. Percussion Ensemble
(2) Magnussen

A248S. Collegium Musicum: Musica Antiqua
(2) Planchart
Performance workshop in Medieval and Renaissance music. Specializes in instrumental and solo vocal music.

A249. Percussion Ensemble
(2) Magnussen

A270AA-ZZ. Ethnomusicology Performance Ensemble
(2) Staff
Prerequisite: enrollment by audition with the exception of Music A270J.
May be repeated for credit.
Group performance of music from selected world cultures:
A. American Folk Music
I. Indian Music
J. Beginning Gamelan
K. Advanced Gamelan
M. Middle East Ensemble
N. Middle East Chorus: Marcus
P. African Drums
V. Gospel Choir

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