UCSB 2009-2010 Catalog Course Search
Search by subject area and course number. Refer to this list of subject areas and their corresponding department.
Tip: A search for the subject area, for example, querying just "HIST" (without quotes), will return all courses of the queried subject area. Searching using subject area and number, such as "HIST 17" (without quotes), would return all courses in the series; in this example that would include HIST 17A, 17AH, 17B, etc.
| Search results: |
| MUS 1 - Classical Music Live |
| (1) Berkowitz |
| 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. |
| MUS 4A - Musicmanship |
| (1) STAFF |
| Prerequisites: Placement exam. A grade of at least C- is required in each course of the Mu4 series. Must be taken consecutively, and concurrently with the Music 5 series. |
| A practical course in sight singing, aural analysis, and rhythmic studies. |
| MUS 4B - Musicmanship |
| (1) STAFF |
| Prerequisites: Placement Exam. A grade of at least C- is required in each course of the Mu4 series. Must be taken consecutively, and concurrently with the Music 5 series. |
| A practical course in sight singing, aural analysis, and rhythmic studies. |
| MUS 4C - Musicmanship |
| (1) STAFF |
| Prerequisites: Placement Exam. A grade of at least C- is required in each course of the Mu4 series. Must be taken consecutively, and concurrently with the Music 5 series. |
| A practical course in sight singing, aural analysis, and rhythmic studies. |
| MUS 4D - Musicmanship |
| (1) STAFF |
| Prerequisites: Placement Exam. A grade of at least C- is required in each course of the Mu4 series. Must be taken consecutively, and concurrently with the music 5 series. |
| A practical course in sight singing, aural analysis, and rhythmic studies. |
| MUS 4E - Musicmanship |
| (1) STAFF |
| Prerequisites: Placement Exam. A grade of at least C- is required in each course of the Mu4 series. Must be taken consecutively, and concurrently with the Music 5 series. |
| A practical course in sight singing, aural analysis, and rhythmic studies. |
| MUS 4F - Musicmanship |
| (1) STAFF |
| Prerequisites: Placement Exam. A grade of at least C- is required in each course of the Mu4 series. Must be taken consecutively, and concurrently with the Music 5 series. |
| A practical course in sight singing, aural analysis, and rhythmic studies. |
| MUS 5A - Music Theory |
| (3) STAFF |
| Prerequisites: Placement Exam. A grade of at least C- is required in each course of the Mu5 series. Must be taken consecutively, and concurrently with the Music 4 series. |
| Music Theory sequence: tonal and chromatic harmony, analysis, counterpoint, 20th century techniques, formal structures in music. |
| MUS 5B - Music Theory |
| (3) STAFF |
| Prerequisites: Placement Exam. A grade of at least C- is required in each course of the Mu5 series. Must be taken consecutively, and concurrently with the Music 4 series. |
| Music Theory sequence: tonal and chromatic harmony, analysis, counterpoint, 20th century techniques, formal structures in music. |
| MUS 5C - Music Theory |
| (3) STAFF |
| Prerequisites: Placement Exam. A grade of at least C- is required in each course of the Mu5 series. Must be taken consecutively, and concurrently with the Music 4 series. |
| Music Theory sequence: tonal and chromatic harmony, analysis, counterpoint, 20th century techniques, formal structures in music. |
| MUS 5D - Music Theory |
| (3) STAFF |
| Prerequisites: Placement Exam. A grade of at least C- is required in each course of the Mu5 series. Must be taken consecutively, and concurrently with the Music 4 series. |
| Music Theory sequence: tonal and chromatic harmony, analysis, counterpoint, 20th century techniques, formal structures in music. |
| MUS 5E - Music Theory |
| (3) STAFF |
| Prerequisites: Placement Exam. A grade of at least C- is required in each course of the Mu5 series. Must be taken consecutively, and concurrently with the Music 4 series. |
| Music Theory sequence: tonal and chromatic harmony, analysis, counterpoint, 20th century techniques, formal structures in music. |
| MUS 5F - Music Theory |
| (3) STAFF |
| Prerequisites: Placement Exam. A grade of at least C- is required in each course of the Mu5 series. Must be taken consecutively, and concurrently with the Music 4 series. |
| Music Theory sequence: tonal and chromatic harmony, analysis, counterpoint, 20th century techniques, formal structures in music. |
| MUS 8 - Class Composition |
| (2) STAFF |
| Prerequisites: Consent of instructor. |
| Assignments in basics of music writing. |
| MUS 11 - Fundamentals of Music |
| (4) STAFF |
| The study of notes, scales, triads, inversions, rhythm, harmony, and musical terminology. Laboratory activities include keyboard orientation, sight singing, and ear training. |
| MUS 12 - Introduction to Music Literature |
| (3) STAFF |
| Prerequisites: Open to Music majors only. |
| Survey of western music from the Middle Ages through the present day. Designed to acquaint the new music major with the styles of European and American art music. For the entering music major, or by permission of the instructor. |
| MUS 15 - Music Appreciation |
| (4) STAFF |
| A selective survey of music of western civilization; evolution of forms, styles, media. Designed to enable the student to listen with understanding. |
| MUS 17 - World Music |
| (4) Marcus |
| 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. |
| MUS 20A - Elementary Voice |
| (1) STAFF |
| Prerequisites: Music 11. Placement by audition. |
| Elementary voice lessons. |
| MUS 20B - Elementary Voice |
| (1) STAFF |
| Prerequisites: Music 11. Placement by audition. |
| Elementary voice lessons. |
| MUS 20C - Elementary Voice |
| (1) STAFF |
| Prerequisites: Music 11. Placement by audition. |
| Elementary voice lessons. |
| MUS 22 - Practicum in World Music Performance |
| (1) STAFF |
| Prerequisites: Consent of instructor. |
| Applied instruction in non-western instruments or vocal styles. |
| MUS 24 - Carillon |
| (1) Halsted |
| Prerequisites: Consent of instructor. |
| Some keyboard proficiency (Music 31F, 32, or 33 or equivalent) recommended.May be repeated for credit to a maximum of 9 units, but only 3 units may be applied toward the major. |
| Applied instruction on Carillon (bells in bell tower) performance. |
| MUS 25 - Intermediate Voice |
| (1-3) Ingham, Mosher, Sokol |
| Prerequisites: By audition. Consent of instructor and department. |
| Intermediate voice lessons. |
| MUS 26A - Intermediate Double Bass |
| (1-3) Garber |
| Prerequisites: By audition. Consent of instructor and department. |
| Intermediate double bass lessons. |
| MUS 26B - Intermediate Cello |
| (1-3) Rutkowski |
| Prerequisites: By audition. Consent of instructor and department. |
| Intermediate cello lessons. |
| MUS 26D - Intermediate Viola |
| (1-3) Callus |
| Prerequisites: By audition. Consent of instructor and department. |
| Intermediate viola lessons. |
| MUS 26E - Intermediate Violin |
| (1-3) Yaron |
| Prerequisites: By audition. Consent of instructor and department. |
| Intermediate violin lessons. |
| MUS 27A - Intermediate Bassoon |
| (1-3) Radford |
| Prerequisites: By audition. Consent of instructor and department. |
| Intermediate bassoon lessons. |
| MUS 27B - Intermediate Clarinet |
| (1-3) Bambach |
| Prerequisites: By audition. Consent of instructor and department. |
| Intermediate clarinet lessons. |
| MUS 27C - Intermediate Flute |
| (1-3) Felber |
| Prerequisites: By audition. Consent of instructor and department. |
| Intermediate flute lessons. |
| MUS 27D - Intermediate Oboe |
| (1-3) Horn |
| Prerequisites: By audition. Consent of instructor and department. |
| Intermediate oboe lessons. |
| MUS 28A - Intermediate French Horn |
| (1-3) Gross |
| Prerequisites: By audition. Consent of instructor and department. |
| Intermediate french horn lessons. |
| MUS 28B - Intermediate Trombone |
| (1-3) Booth |
| Prerequisites: By audition. Consent of instructor and department. |
| Intermediate trombone lessons. |
| MUS 28C - Intermediate Trumpet |
| (1-3) Hungerford |
| Prerequisites: By audition. Consent of instructor and department. |
| Intermediate trumpet lessons. |
| MUS 28D - Intermediate Tuba |
| (1-3) Booth |
| Prerequisites: By audition. Consent of instructor and department. |
| Intermediate tuba lessons. |
| MUS 28E - Intermediate Euphonium/Baritone |
| (1-2) Booth |
| Prerequisites: By audition. Consent of instructor and department. |
| Intermediate euphonium or baritone lessons. |
| MUS 29 - Intermediate Percussion |
| (1-3) Nathan |
| Prerequisites: By audition. Consent of instructor and department. |
| Intermediate percussion lessons. |
| MUS 31A - Class Piano |
| (1) Kislenko |
| Prerequisites: Placement by audition. Must be taken consecutively. A grade of at least C- is required in each course of the Music 31 series. |
| Includes scales, sight-reading and appropriate piano literature. |
| MUS 31B - Class Piano |
| (1) Kislenko |
| Prerequisites: Placement by audition. Must be taken consecutively. A grade of at least C- required in each course of the Music 31 series. |
| Includes scales, sight-reading and appropriate piano literature. |
| MUS 31C - Class Piano |
| (1) Kislenko |
| Prerequisites: Placement by audition. Must be taken consecutively. A grade of at least C- required in each course in the Music 31 series. |
| Includes scales, sight-reading and appropriate piano literature. |
| MUS 31D - Class Piano |
| (1) Kislenko |
| Prerequisites: Placement by audition. Must be taken consecutively. A grade of at least C- required in each of the Music 31 series. |
| Includes scales, sight-reading and appropriate piano literature. |
| MUS 31E - Class Piano |
| (1) Kislenko |
| Prerequisites: Placement by audition. Must be taken consecutively. A grade of at least C-required in each of the Music 31 series. |
| Includes scales, sight-reading and appropriate piano literature. |
| MUS 31F - Class Piano |
| (1) Kislenko |
| Prerequisites: Placement by audition. Must be taken consecutively. A grade of at least C- required in each of the Music 31 series. |
| Includes scales, sight-reading and appropriate piano literature. |
| MUS 31X - Class Piano |
| (1) Kislenko |
| Prerequisites: Placement by audition; Music 31F with a minimum grade of C- or passing the piano proficiency test. |
| Optional continuation of Music 31. Equivalent in level to Music 32. Elementary individual class piano instruction in class or individual context. Includes scales, sight reading, transposition, harmonization at the keyboard, with emphasis on piano literature. |
| MUS 32A - Secondary Piano |
| (1) Kislenko |
| Prerequisites: Placement by audition. |
| Optional continuation of Music 31. Elementary individual class piano instruction. Includes scales, sight reading, transposition, harmonization at the keyboard, with emphasis on piano literature. |
| MUS 32B - Secondary Piano |
| (1) Kislenko |
| Prerequisites: Placement by audition. |
| Optional continuation of Music 31. Elementary individual class piano instruction. Includes scales, sight reading, transposition, harmonization at the keyboard, with emphasis on piano literature. |
| MUS 32C - Secondary Piano |
| (1) Kislenko |
| Prerequisites: Placement by audition. |
| Optional continuation of Music 31. Elementary individual class piano instruction. Includes scales, sight reading, transposition, harmonization at the keyboard, with emphasis on piano literature. |
| MUS 32D - Secondary Piano |
| (1) Kislenko |
| Prerequisites: Placement by audition. |
| Optional continuation of Music 31. Elementary individual class piano instruction. Includes scales, sight reading, transposition, harmonization at the keyboard, with emphasis on piano literature. |
| MUS 32E - Secondary Piano |
| (1) Kislenko |
| Prerequisites: Placement by audition. |
| Optional continuation of Music 31. Elementary individual class piano instruction. Includes scales, sight reading, transposition, harmonization at the keyboard, with emphasis on piano literature. |
| MUS 32F - Secondary Piano |
| (1) Juhn |
| Prerequisites: Placement by audition. |
| Optional continuation of Music 31. Elementary individual class piano instruction. Includes scales, sight reading, transposition, harmonization at the keyboard, with emphasis on piano literature. |
| MUS 33 - Intermediate Piano |
| (1-3) Oberacker, Berkowitz, Asche |
| Prerequisites: By audition. Consent of instructor and department. |
| Intermediate piano lessons. |
| MUS A 34 - Wind Ensemble |
| (1) Bambach |
| Prerequisites: Enrollment by audition. |
| Masterworks of the literature for ensembles smaller than orchestral or fullband scoring. Although the basic ensembles feature winds, both strings and percussion are utilized. |
| MUS 35A - Piano Accompanying |
| (1) Harley |
| Prerequisites: Music 33 (may be taken concurrently); or, Piano and Accompanying emphasis majors only; and, consent of instructor. |
| An introduction to the study of accompaniment repertoire and performance (art song, instrumental literature, orchestral transcriptions, sight-reading). |
| MUS 35B - Piano Accompanying |
| (1) Harley |
| Prerequisites: Music 33 (may be taken concurrently); or, piano and accompanying emphasis majors only; and, consent of instructor. |
| An introduction to the study of accompaniment repertoire and performance (art song, instrumental literature, orchestral transcriptions, sight-reading). |
| MUS 35C - Piano Accompanying |
| (1) Harley |
| Prerequisites: Music 33 (may be taken concurrently); or, Piano and Accompanying emphasis majors only; and, consent of instructor. |
| An introduction to the study of accompaniment repertoire and performance (art song, instrumental literature, orchestral transcriptions, sight-reading). |
| MUS 35D - Piano Accompanying |
| (1) Harley |
| Prerequisites: Music 33 (may be taken concurrently); or, Piano and Accompanying emphasis majors only; and, consent of instructor. |
| An introduction to the study of accompaniment repertoire and performance (art song, instrumental literature, orchestral transcriptions, sight-reading). |
| MUS 35E - Piano Accompanying |
| (1) Harley |
| Prerequisites: Music 33 (may be taken concurrently); or, Piano and Accompanying emphasis majors only; and, consent of instructor. |
| An introduction to the study of accompaniment repertoire and performance (art song, instrumental literature, orchestral transcriptions, sight-reading). |
| MUS 35F - Piano Accompanying |
| (1) Harley |
| Prerequisites: Music 33 (may be taken concurrently); or, Piano and Accompanying emphasis majors only; and, consent of instructor. |
| An introduction to the study of accompaniment repertoire and performance (art song, instrumental literature, orchestral transcriptions, sight-reading). |
| MUS A 36A - Chamber Choir |
| (1) Gervais |
| Prerequisites: Enrollment by audition. |
| A selected 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. |
| MUS A 36B - Chamber Choir |
| (1) Gervais |
| Prerequisites: Music A36A. |
| 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. |
| MUS A 36C - Chamber Choir |
| (1) Gervais |
| Prerequisites: Music A36B. |
| 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. |
| MUS A 37A - University Singers |
| (1) Gervais |
| Prerequisites: Enrollment by audition. |
| University choir. |
| MUS A 37B - University Singers |
| (1) Gervais |
| Prerequisites: Music A37A. |
| University choir. |
| MUS A 37C - University Singers |
| (1) Gervais |
| Prerequisites: Music A37B. |
| University choir. |
| MUS A 38 - Opera Workshop |
| (1) Sokol |
| Prerequisites: By audition only. |
| Participation in opera scenes. |
| MUS A 38P - Opera Production |
| (1) STAFF |
| Prerequisites: By audition only. |
| Participation in annual opera production. |
| MUS A 40 - Contemporary Music Ensemble |
| (1) Haladyna |
| Prerequisites: Enrollment by audition. |
| Reading sessions and preparation for performanc of contemporary music. There will be two concerts each quarter. Includes departmental scholarship players, and is open to composers who also perform. |
| MUS A 41 - Piano Ensemble |
| (1) Asche, Berkowitz |
| Prerequisites: By audition. |
| Piano duets (1 piano, 4 hands) and duos (2 pianos) in separate sections. |
| MUS A 42 - Orchestra |
| (2) Schindler |
| Prerequisites: Enrollment by audition. |
| Music performance laboratory. |
| MUS A 43 - Flute Choir |
| (1) Felber |
| Prerequisites: Audition. |
| 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. |
| MUS A 44 - Chamber Music Ensemble |
| (1) STAFF |
| Prerequisites: Enrollment by audition. |
| Chamber music ensemble. |
| MUS A 45 - Brass Quintet |
| (1) Gross |
| Prerequisites: By audition. |
| Participation in scholarship brass quintet. |
| MUS A 45BR - Brass Orchestral Repertoire |
| (1) Gross |
| Prerequisites: Enrollment by audition. |
| Intensive exploration of staple brass orchestral repertoire, emphasizing the works of important 19th and 20th century composers. Classes include rehearsal sessions, guided listening and analysis, mock auditions, resume and taped audition preparation. |
| MUS A 45H - Horn Ensemble |
| (1) Gross |
| Prerequisites: Enrollment by audition. |
| Horn ensemble. |
| MUS A 46 - Clarinet Choir |
| (1) Bambach |
| Prerequisites: Enrollment by audition. |
| Clarinet choir. |
| MUS A 47S - Jazz Ensemble |
| (1) Nathan |
| Prerequisites: Enrollment by audition. |
| Instruction in interpretation and performance of jazz music. Improvization is stressed. Audition is required. |
| MUS A 48S - Collegium Musicum: Musica Antiqua |
| (1) Kronour |
| Prerequisites: Enrollment by audition. |
| Performance workshop in medieval and renaissance music. Specialized in instrumental and solo vocal music. |
| MUS A 49 - Percussion Ensemble |
| (1) Nathan |
| Prerequisites: Enrollment by audition. |
| Rehearsal and performance of standard percussion ensemble literature. insturction of appropriate playing techniques for standard and exotic percussion instruments. |
| MUS 51 - Vocal and Instrumental Coaching |
| (1) Harley, Thomas |
| Prerequisites: Concurrent vocal or instrumental study (Music 25-29). |
| Musical preparation of vocal or instrumental works from a coach/accompanist |
| MUS A 53 - Viola Orchestral Repertoire |
| (1) Callus |
| Prerequisites: By audition. |
| The study of the entire standard orchestral repertoire for viola and audition procedures. |
| MUS A 70 - Ethnomusicology Performance Ensemble |
| (1) STAFF |
| Prerequisites: Enrollment by audition. |
| Group performance of music from selected world cultures: A. American folk music I. Indian music J. Beginning Gamalan K. Advanced Gamelan M. Middle Eastern music P. West African drumming V. Gospel choir. |
| MUS A 70J - Ethnomusicology Performance Ensemble: Beginning Gamelan |
| (1) STAFF |
| Prerequisites: Enrollment by audition. students. |
| Group performance of music from selected world cultures. |
| MUS 88 - Intermediate Composition |
| (2) STAFF |
| Prerequisites: Passing of freshman composition portfolio and consent of instructor. |
| Preparation for Music 108. |
| MUS 94 - Freshman Audition |
| (1) STAFF |
| Preparation of freshman audition. |
| MUS 96B - Honors Project |
| (2) STAFF |
| Prerequisites: Consent of instructor and department. |
| Public presentation of sophomore project. Public performance of sophomore composition. |
| MUS 97 - Sophomore Audition |
| (2) STAFF |
| Prerequisites: Passing of freshman audition (may be waived for transfer students) and consof instructor. |
| Preparation of sophomore audition. |
| MUS 97B - Sophomore Composition Portfolio |
| (2) STAFF |
| Prerequisites: Passing of freshman composition portfolio (may be waived for transfer students), and consent of instructor. |
| Preparation of sophomore composition portfolio. |
| MUS 98 - Readings in Music |
| (1-3) STAFF |
| Prerequisites: Consent of instructor. |
| Critical review and discussion of related topics in musicology, ethnomusicology, composition, theory, or performance. |
| MUS 99 - Introduction to Musical Research |
| (1-3) STAFF |
| Prerequisites: Consent of instructor. |
| Independent research under the guidance of a faculty member in the department. Course offers exceptional students the opportunity to undertake independent research or work in a research group in topics in musicology, ethnomusicology, composition, theory, or performance. |
| MUS 101A - Twentieth-Century Techniques |
| (2) Haladyna |
| Prerequisites: Music 5E or equivalent. |
| A study of contemporary techniques, through both written work and analysis. |
| MUS 101B - Twentieth-Century Techniques |
| (2) Haladyna |
| Prerequisites: Music 5E or equivalent. |
| A study of contemporary techniques, through both written work and analysis. |
| MUS 101C - Twentieth-Century Techniques |
| (2) Haladyna |
| Prerequisites: Music 5E or equivalent. |
| A study of contemporary techniques, through both written work and analysis. |
| MUS CS 101 - Composition |
| (1-6) STAFF |
| Prerequisites: Consent of instructor. |
| Individual instruction in composition, usually for one hour per week. |
| MUS 102 - Fundamentals of Counterpoint |
| (3) STAFF |
| Prerequisites: Music 5E or equivalent. |
| A study of the general principles of counterpoint based on literature and repertoire of various periods, complemented by written exercises.
|
| MUS CS 102 - Analysis: Materials |
| (1-6) STAFF |
| Prerequisites: Consent of instructor. |
| Small group instruction in theoretical subjects (harmony, composition, orchestration, etc.). |
| MUS 103 - Eighteenth Century Counterpoint |
| (3) STAFF |
| Prerequisites: Music 5E and 102. |
| A study of contrapuntal practices of the eighteenth century through analysis and compositional exercises. |
| MUS CS 103 - Analysis: Forms |
| (1-6) STAFF |
| Prerequisites: Consent of instructor. |
| Small group instruction in musical forms and their development. |
| MUS 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. |
| MUS CS 104 - Aural Disciplines |
| (1-6) STAFF |
| Prerequisites: Consent of instructor. |
| Ear training, dictation, and sight singing. |
| MUS 105 - Field and Laboratory Methods in Ethnomusicology |
| (3) STAFF |
| Prerequisites: 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, questionnaries, and interviewing. The use and interpretation of standard and innovative laboratory methods for processing data, including computer analysis. |
| MUS CS 105 - Special Topics |
| (1-6) STAFF |
| Prerequisites: Consent of instructor. |
| Individual or small group instruction in selected subjects (individual composers and their works, special compositional techniques, etc.). |
| MUS 106A - Orchestration |
| (2) Haladyna |
| Prerequisites: Music 5E or equivalent. |
| The study of orchestration through written work and analysis. |
| MUS 106B - Orchestration |
| (2) Haladyna |
| Prerequisites: Music 5E or equivalent. |
| The study of orchestration through written work and analysis. |
| MUS 106C - Orchestration |
| (2) Haladyna |
| Prerequisites: Music 5E or equivalent. |
| The study of orchestration through written work and analysis. |
| MUS CS 106 - Computer Applications |
| (1-6) STAFF |
| Prerequisites: Consent of instructor. |
| Applications of the various campus computers to problems in music. |
| MUS 108 - Advanced Composition |
| (1-3) Feigin |
| Prerequisites: Music 5F or equivalent, passing of sophomore composition portfolio and consof instructor. |
| Individual instruction in composition. Assignments using small and large forms. |
| MUS 109IA - Direct Digital Synthesis, Processing and Composition |
| (3) Kuchera-Morin |
| Prerequisites: Upper-division standing; consent of instructor; Music majors must have takeMusic 5E or equivalent. |
| 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. |
| MUS 109IB - Direct Digital Synthesis, Processing and Composition |
| (3) Kuchera-Morin |
| Prerequisites: Music 109IA. |
| Second quarter of a three-quarter series concentrating on computer instrument design using C-based computer music software and exploring synthesis applications of frequency modulation, amplitude modulation, additive/substractive synthesis, etc., computer processing of sound, and computer music composition. |
| MUS 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. |
| MUS 109LA - Real-Time Digital Synthesis, Processing and Composition. |
| (2) Roads |
| Prerequisites: Upper-division standing; consent of instructor; Music majors must have takeMusic 5E or equivalent. |
| First quarter of a 3-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. |
| MUS 109LB - Real-Time Digital Synthesis, Processing and Composition |
| (2) Roads |
| Prerequisites: Music 109LA. |
| Second quarter of a 3-quarter series course will concentrate on digital synthesis (primarily frequency modulation, simple and complex; but also amplitude modulation and additive synthesis) using micro-computers, digitalsynthesizers and processing equipment for music composition. |
| MUS 109LC - Real-Time Digital Synthesis, Processing and Composition |
| (2) Roads |
| Prerequisites: Music 109LA and 109LB. |
| Third quarter of a 3-quarter series course will concentrate on real-time computer music composition with micro-computers and digital synthesis/processing equipment. |
| MUS 109N - Special Topics in Computer Music and Digital Signal Processing |
| (3) Kuchera-Morin, Roads |
| Prerequisites: Music 109LA-B-C or 109IA-B-C. |
| Advanced topics in computer music composition, synthesis and digital signal processing. |
| MUS 112AB - History of Music: The Middle Ages and Renaissance |
| (3) Prizer |
| Prerequisites: Music 5; and Music 12 with a minimum grade of C-. |
| History of music in western civilization from antiquity to 1600. |
| MUS 112C - History of Music: The Baroque |
| (3) Prizer, Tcharos |
| Prerequisites: Music 5; and Music 12 with a minimum grade of C-. |
| History of music in western civilization from 1600 to 1750. |
| MUS 112D - History of Music: The Classic Era |
| (3) Tcharos |
| Prerequisites: Music 5; and Music 12 with a minimum grade of C-. |
| History of music in western civilization from 1725 to 1825. |
| MUS 112E - History of Music: The Romantic Era |
| (3) Katz |
| Prerequisites: Music 5; and Music 12 with a minimum grade of C-. |
| History of music in western civilization from 1790 to 1918. |
| MUS 112F - History of Music: The Twentieth Century |
| (3) STAFF |
| Prerequisites: Music 5; and Music 12 with a minimum grade of C-. |
| History of music in western civilization from 1870 to the present. |
| MUS 113A - The History of Opera: 1600-1800 |
| (4) Tcharos |
| An overview of the history of opera from 1600-1800, placing selected works within a social context, and viewing opera as a musical work, dramatic spectacle, and cultural commodity. |
| MUS 113B - The History of Opera: 1800-1960 |
| (4) Katz |
| An overview of the history of opera from 1800-1960, placing selected works within a social context, and viewing opera as a musical work, dramatic spectacle, and cultural commodity. |
| MUS 114 - Music and Popular Culture in America |
| (4) STAFF |
| Prerequisites: Upper-division standing; not open to Music majors. |
| A survey of the relationships between music and popular culture in America. Music to be discussed includes blues, jazz, and rock, as well as classical music. Emphasis is on cultural, rather than technical aspects of music. |
| MUS 115 - Symphonic Music |
| (4) Rutkowski |
| Prerequisites: Music 15. For the non-major. |
| A study of selected symphonic works. |
| MUS 116 - American Music History: From the Colonial Period to the Present |
| (4) Paul, David |
| Prerequisites: Upper-division standing; not open to Music majors. |
| An overview of the varieties of American musical experience from the Colonial period to the present. Representative works from several genres are studies with a view to placing them in their cultural context and identifying major aesthetic issues. |
| MUS 118A - History and Literature of Great Composers in Western Music |
| (4) STAFF |
| Prerequisites: Music 15. For the non-major. |
| 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) Joseph Haydn; F-Z) other composers. |
| MUS 119A - Music and Politics |
| (4) Hall |
| A study of the interaction between music and politics from the fourteenth century to the present. Includes discussion of relevant art from each period. |
| MUS 120A - Orchestral Conducting |
| (2) Ohyama |
| Prerequisites: Consent of instructor. |
| An introduction to fundamentals of orchestral conducting and score reading. |
| MUS 120B - Choral Conducting |
| (2) Gervais |
| Prerequisites: Consent of instructor. |
| An introduction to the fundamentals of choral conducting and score reading. |
| MUS 120C - Advanced Conducting |
| (1) Gervais, Ohyama |
| Prerequisites: Consent of instructor. |
| Applied instruction in choral or orchestral conducting. |
| MUS 120T - Choral Techniques |
| (2) Gervais |
| Prerequisites: Music 120B (may be taken concurrently) and 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. |
| MUS 122 - Practicum in World Music Performance |
| (1) STAFF |
| Prerequisites: Consent of instructor. Passing of sophomore audition for Bachelor of Music Composition emphasis majors. |
| Applied instruction in non-western instruments of vocal styles. |
| MUS 125 - Advanced Voice |
| (1-4) Ingham, Mosher, Sokol |
| Prerequisites: Passing of voice sophomore audition. |
| Advanced voice lessons. |
| MUS 126A - Advanced Double Bass |
| (1-4) Garber |
| Prerequisites: Passing of double bass sophomore audition. |
| Advanced double bass lessons. |
| MUS 126B - Advanced Cello |
| (1-4) Rutkowski |
| Prerequisites: Passing of cello sophomore audition. |
| Advanced cello lessons. |
| MUS 126D - Advanced Viola |
| (1-4) Monke |
| Prerequisites: Passing of viola sophomore audition. |
| Advanced viola lessons. |
| MUS 126E - Advanced Violin |
| (1-4) Yaron |
| Prerequisites: Passing of violin sophomore audition. |
| Advanced violin lessons. |
| MUS 127A - Advanced Bassoon |
| (1-4) Radford |
| Prerequisites: Passing of bassoon sophomore audition. |
| Advanced bassoon lessons. |
| MUS 127B - Advanced Clarinet |
| (1-4) Bambach |
| Prerequisites: Passing of clarinet sophomore audition. |
| Advanced clarinet lessons. |
| MUS 127C - Advanced Flute |
| (1-4) Felber |
| Prerequisites: Passing of flute sophomore audition. |
| Advanced flute lessons. |
| MUS 127D - Advanced Oboe |
| (1-4) Horn |
| Prerequisites: Passing of oboe sophomore audition. |
| Advanced oboe lessons. |
| MUS 128A - Advanced French Horn |
| (1-4) Gross |
| Prerequisites: Passing of french horn sophomore audition. |
| Advanced french horn lessons. |
| MUS 128B - Advanced Trombone |
| (1-4) Booth |
| Prerequisites: Passing of trombone sophomore audition. |
| Advanced trombone lessons. |
| MUS 128C - Advanced Trumpet |
| (1-4) Hungerford |
| Prerequisites: Passing of trumpet sophomore audition. |
| Advanced trumpet lessons. |
| MUS 128D - Advanced Tuba |
| (1-4) Booth |
| Prerequisites: Passing of tuba sophomore audition. |
| Advanced tuba lessons. |
| MUS 128E - Advanced Euphonium/Baritone |
| (1-2) Booth |
| Prerequisites: Passing of euphonium or baritone sophomore audition. |
| Advanced euphonium or baritone lessons. |
| MUS 129 - Advanced Percussion |
| (1-4) Magnussen |
| Prerequisites: Passing of percussion sophomore audition. |
| Advanced percussion lessons. |
| MUS A 132A - Young Soloists Ensemble |
| (1) Gervais |
| Prerequisites: Consent of instructor. Concurrent enrollment in Music A36A or A136A. |
| A specialized select ensemble for singers as part of a professional apprenticeship program. |
| MUS A 132B - Young Soloists Ensemble |
| (1) Gervais |
| Prerequisites: Music A132A and consent of instructor. Concurrent enrollment in Music A36B A136B. |
| A specialized select ensemble for singers as part of a professional apprenticeship program. |
| MUS A 132C - Young Soloists Ensemble |
| (1) Gervais |
| Prerequisites: Music A132B and consent of instructor. Concurrent enrollment in Music A36C A136C. |
| A specialized select ensemble for singers as part of a professional apprenticeship program. |
| MUS 133 - Advanced Piano |
| (1-4) Oberacker, Berkowitz, Asche |
| Prerequisites: Passing of piano sophomore audition. |
| Advanced piano lessons. |
| MUS A 134 - Wind Ensemble |
| (1) STAFF |
| Prerequisites: Enrollment by audition. For upper-division students. |
| Masterworkds of the literature for ensembles smaller than orchestral or full band scoring. Although the basic ensembles feature winds, both stringsand percussion are utilized. |
| MUS 135A - Piano Accompanying |
| (2) Harley |
| Prerequisites: Music 33 (may be taken concurrently); or, Piano and Accompanying emphasis majors only; and, consent of instructor. |
| An advanced study of accompaniment repertoire and performance (artsong, instrumental literature, orchestral transcriptions, sight-reading). |
| MUS 135B - Piano Accompanying |
| (2) Harley |
| Prerequisites: Music 33 (may be taken concurrently); or, Piano and Accompanying emphasis majors only; and, consent of instructor. |
| An advanced study of accompaniment repertoire and performance (artsong, instrumental literature, orchestral transcriptions, sight-reading). |
| MUS 135C - Piano Accompanying |
| (2) Harley |
| Prerequisites: Music 33 (may be taken concurrently); or, Piano and Accompanying emphasis majors only; and, consent of instructor. |
| An advanced study of accompaniment repertoire and performance (artsong, instrumental literature, orchestral transcriptions, sight-reading). |
| MUS A 136A - Chamber Choir |
| (1) Gervais |
| Prerequisites: Enrollment by audition. Upper-division only. |
| 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. |
| MUS A 136B - Chamber Choir |
| (1) Gervais |
| Prerequisites: Enrollment by audition. Music A36A. Upper-division only. |
| 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. |
| MUS A 136C - Chamber Choir |
| (1) Gervais |
| Prerequisites: Enrollment by audition. Music A36B. Upper-division only. |
| 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. |
| MUS A 137A - University Singers |
| (1) Gervais |
| Prerequisites: Enrollment by audition. Upper-division only. |
| University choir. |
| MUS A 137B - University Singers |
| (1) Gervais |
| Prerequisites: Enrollment by audition. Music A137A. Upper-division only. |
| University choir. |
| MUS A 137C - University Singers |
| (1) Gervais |
| Prerequisites: Enrollment by audition. Music A137B. Upper-division only. |
| University choir. |
| MUS A 138 - Opera Workshop |
| (1) Sokol |
| Prerequisites: By audition only. |
| Participation in opera scenes. |
| MUS A 138P - Opera Production |
| (1) STAFF |
| Prerequisites: By audition only. |
| Participation in annual opera production. |
| MUS A 140 - Ensemble for Contemporary Music |
| (1) Haladyna |
| Prerequisites: Enrollment by audition. For upper-division students. |
| Reading sessions and preparation for performance of contemporary music. There will be one or two concerts each quarter. Includes departmental scholarship players, and is open to composers who also perform. |
| MUS A 141 - Piano Ensemble |
| (1) Asche, Berkowitz |
| Prerequisites: Enrollment by audition. Upper-division students only. |
| Piano duets (1 piano, 4 hands) and duos (2 pianos) in separate sections. |
| MUS A 142 - Orchestra |
| (2) Schindler |
| Prerequisites: Enrollment by audition. For upper-division students. |
| Orchestra. |
| MUS A 143 - Flute Choir |
| (1) Felber |
| Prerequisites: Enrollment by audition. |
| 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. |
| MUS A 144 - Chamber Music Ensemble |
| (2) STAFF |
| Prerequisites: Enrollment by audition. For upper-division students. |
| Chamber music ensemble. |
| MUS A 145 - Brass Quintet |
| (1) Gross |
| Prerequisites: By audition. Upper-division standing. |
| Participation in scholarship brass quintet. |
| MUS A 145BR - Brass Orchestral Repertoire |
| (1) Gross |
| Prerequisites: By audition; upper-division standing. |
| Intensive exploration of staple brass orchestral repertoire, emphasizing the works of important 19th and 20th century composers. Classes include rehearsal sessions, guided listening and analysis, mock auditions, resume and taped audition preparation. |
| MUS A 145H - Horn Ensemble |
| (1) STAFF |
| Prerequisites: Enrollment by audition. Upper-division only. |
| Horn ensemble. |
| MUS A 146 - Clarinet Choir |
| (1) Bambach |
| Prerequisites: Enrollment by audition. For upper-division students only. |
| Clarinet choir. |
| MUS A 147S - Jazz Ensemble |
| (1) Nathan |
| Prerequisites: Enrollment by audition required. |
| Instruction in interpretation and performance of jazz music. Improvisation is stressed. |
| MUS A 148 - Early Music Choir |
| (1) Planchart |
| Prerequisites: Enrollment by audition. For upper-division students. |
| Performance workshop in medieval and renaissance music. Specializes in vocal music, particularly choral. |
| MUS A 148S - Collegium Musicum: Musica Antiqua |
| (1) Kronour |
| Prerequisites: Enrollment by audition. For upper-division students. |
| Performance workship in medieval and renaissance music. Specializes in instrumental and solo vocal music. |
| MUS A 149 - Percussion Ensemble |
| (1) Magnussen |
| Prerequisites: Enrollment by audition. For upper-division students. |
| Rehearsal and performance of standard percussion ensemble literature. Instruction of appropriate playing techniques for standard and exotic percussin instruments. |
| MUS 150 - Opera/Song Repertoire |
| (2) Sokol |
| Prerequisites: Music 25 or 33. |
| 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. |
| MUS 151 - Vocal and Instrumental Coaching |
| (1) Staff, Thomas |
| Prerequisites: Concurrent upper-division vocal or instrumental study (Music 125-129). |
| Musical preparation of vocal or instrumental works. |
| MUS A 153 - Viola Orchestral Repertoire |
| (1) Callus |
| Prerequisites: Enrollment by audition. |
| The study of the entire standard orchestral repertoire for viola, and audition procedures. |
| MUS 157 - Composers Forum |
| (1) STAFF |
| Prerequisites: Music 108A-B. |
| Presentation and discussion of new works by students, faculty, and guest composers. |
| MUS 158A - Diction |
| (1) Branton, Ingham |
| Prerequisites: Music 25. |
| English diction. |
| MUS 158B - Diction |
| (1) Branton, Ingham |
| Prerequisites: Music 25. |
| Italian diction. |
| MUS 158C - Diction |
| (1) Branton, Ingham |
| Prerequisites: Music 25 or equivalent. |
| German diction. |
| MUS 158D - Diction |
| (1) Branton, Ingham |
| Prerequisites: Primarily for Voice majors. Music 25 or equivalent. |
| French diction. |
| MUS 160A - Tonal Analysis |
| (3) STAFF |
| Prerequisites: Music 4E and 5E. |
| Analysis of small-scale and large-scale formal structures through mid-classical period. |
| MUS 160B - Twentieth Century Analysis |
| (3) Hall |
| Prerequisites: Music 4E and 5E. |
| Analysis of non-tonal and twelve-tone music. |
| MUS 160C - Advanced Tonal Analysis |
| (3) STAFF |
| Prerequisites: Music 4F, 5F, and 160A. |
| Continuation of Music 160A, advanced tonal analysis through nineteenth century works. |
| MUS 160D - Tuning and Temperament |
| (3) Marcus |
| Prerequisites: 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. |
| MUS 160E - The Arabic System of Melodic Modes: The Maqamat |
| (3) Marcus |
| Prerequisites: 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, tetrachordel structures, and theories ofintonation), analysis of standard repertoire, and procedures governing improvisation. |
| MUS 160F - Sound Color: Timbre and Music |
| (3) Hajda |
| Prerequisites: Consent of instructor; not open to freshmen. |
| "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 espressive power in music. |
| MUS 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. |
| MUS 165 - Art Song |
| (4) Staff |
| Prerequisites: Three quarters of the Music 112AB-F series. |
| The development of the art song with special emphasis on the poetry and musical styles which evolved in each historical period. |
| MUS 167 - National Elements in Music |
| (4) Katz |
| Prerequisites: Three quarters of the Music 112AB-F series. |
| In-depth discussion and analysis of music concentrating on the nineteenth and twentieth centuries of a particular country. |
| MUS 168B - The Anthropology of Music |
| (3) , |
| An examination of music performance traditions as cultural and social phenomena. Special attention given to theoretical formulations of musical anthropology. |
| MUS 168C - Music and Religion |
| (3) STAFF |
| An examination of the structural role and symbolic functions of music in religious systems. Case studies will be drawn from diverse world traditions. |
| MUS 168F - Cross-Cultural Aesthetics of Music |
| (3) STAFF |
| A cross-cultural examination of aesthetic values, theories, and practices. Case studies from diverse world traditions will include historical and contemporary perspectives. |
| MUS 168G - Other Issues in Ethnomusicology |
| (4) STAFF |
| A study of other cultural issues in ethnomusicology. Specific issue or topics will vary by quarter and will be announced in advance by the department. |
| MUS 168G - Other Issues in Ethnomusicology |
| (4) STAFF |
| A study of other cultural issues in ethnomusicology. Specific issue or topics will vary by quarter and will be announced in advance by the department. |
| MUS 168G - Other Issues in Ethnomusicology |
| (4) STAFF |
| A study of other cultural issues in ethnomusicology. Specific issue or topics will vary by quarter and will be announced in advance by the department. |
| MUS 168G - Other Issues in Ethnomusicology |
| (4) STAFF |
| A study of other cultural issues in ethnomusicology. Specific issue or topics will vary by quarter and will be announced in advance by the department. |
| MUS 168H - Music and Tourism |
| (4) Cooley |
| Students read folklore, anthropology, tourism studies, musicology, and ethnomusicology in an attempt to develop theories for interpreting the impact of tourism on music locally and globally. |
| MUS 168I - Film Music Cognition |
| (4) Hajda |
| Prerequisites: Music 11 or Music 5A (which may be concurrent); and upper-division standing. |
| Upper-division standing or consent of the instructor. |
| A consideration of film music as a medium of communication between the director, composer, music supervisor, editors, performers and the audience. Emphasis given to cognitive psychological theories of meaning in terms of structure and affect in audio/visual contexts. |
| MUS 168X - Umm Kulthum: Her Music, Her Life, Her Times |
| (4) Marcus |
| Prerequisites: Consent of instructor. |
| Analysis of the music, life, an 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.). |
| MUS 169 - Notation and Transcription in Ethnomusicology |
| (3) Fales |
| Survey of existing notational systems and exercises in ethnomusicological transcription, with particular attention to issues related to the visual representation of performed musical sound. |
| MUS A 170 - Ethnomusicology Performance Ensemble |
| (1) STAFF |
| Prerequisites: Enrollment by audition with the exception of Music A170J. For upper-divisiostudents. |
| Group performance of music from selected world cultures: A. American folk music I. Indian music J. Beginning Gamalan K. Advanced Gamelan M. Middle Eastern music P. West African drumming V. Gospel choir. |
| MUS A 170J - Ethnomusicology Performance Ensemble |
| (1) STAFF |
| Prerequisites: Enrollment by audition with the exception of Music A170J. For upper-division students. |
| Group performance of music from selected world cultures: J) Beginning Gamalan |
| MUS 173 - Studies in Music Theory |
| (4) STAFF |
| Prerequisites: Music 5A-F. |
| Selected topics in musical analysis. |
| MUS 174 - Musical Acoustics |
| (4) Hajda |
| Prerequisites: Upper-division standing; Music 11 or Music 5A (which may be concurrent). |
| Consideration of the relationships between acoustics, perception and music. Emphasis on the physical and psychophysiological bases for tonality, dynamics, timbre and rhythm. Additional focus on the vibrational properties of musical instruments and features of digital recording and playback. |
| MUS 175E - Music Cultures of the World: China |
| (4) Hsu |
| 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. |
| MUS 175F - Music Cultures of the World: The Middle East |
| (4) Marcus |
| 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. |
| MUS 175G - Music Cultures of the World: India |
| (4) Marcus |
| 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). |
| MUS 175K - Music Cultures of the World: Other Regions |
| (4) Staff |
| A study of music traditions and genres from other regions of the world. Specific regions studied vary by quarter and are announced in advance by the department. |
| MUS 175L - Music Culture of the Polish Tatra Mountains |
| (4) Cooley |
| The Tatras are the home of a distinct folk culture, including music based on polyphonic singing ad violin ensembles. Course investigates the present-day music from this region and its history, and examines the influence of tourism and ethnography on the music-culture. |
| MUS 175M - American Folk Music: Old-Time, Bluegrass and Country |
| (4) Cooley |
| Study of English-language American folk music, using mixed-media tools for learning. The focus is on string band music often associated with Appalachia and usually called "old-time," and the distinct but related styles of bluegrass and country. |
| MUS 176 - Studies in Ethnomusicology |
| (4) 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. |
| MUS 178A - Performance Practices |
| (4) Staff |
| Prerequisites: Three quarters of the Music 112AB-F series. |
| 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 include instrumentation, ornamentation, figured bass, rhythm, tempo, articulation, and expression. |
| MUS 178B - Performance Practices |
| (4) STAFF |
| Prerequisites: Three quarters of the Music 112AB-F series. |
| A study, through selected works, of performance practices of twentieth-century music, with particular attention to new notational concepts and their execution. |
| MUS 179 - Proseminar in Medieval Music |
| (4) Prizer |
| Prerequisites: Music 112AB and two additional quarters of the Music 112AB-F series. |
| A selective study of various stylistic and historical aspects of medieval music. |
| MUS 180 - Proseminar in Renaissance Music |
| (4) Prizer |
| Prerequisites: Music 112AB and two additional quarters of the Music 112AB-F series. |
| A selective study of various stylistic and historical aspects of renaissance music. |
| MUS 181 - Proseminar in Baroque Music |
| (4) Prizer |
| Prerequisites: Music 112C and two additional quarters of the Music 112AB-F series. |
| A selective study of various stylistic and historical aspects of Baroque music. |
| MUS 182 - Proseminar in Classical Music |
| (3) Tcharos |
| Prerequisites: Music 112D and two additional quarters of the Music 112AB-F series. |
| A selective study of various stylistic and historical aspects of classical music. |
| MUS 183 - Proseminar in Romantic Music |
| (4) Katz |
| Prerequisites: Music 112E and two additional quarters of the Music 112AB-F series. |
| A selective study of various stylistic and historical aspects of romantic music. |
| MUS 184 - Proseminar in Contemporary Music |
| (4) Katz |
| Prerequisites: Music 112F and two additional quarters of the Music 112AB-F series. |
| A selective study of various stylistic and historical aspects of contemporary music. |
| MUS 185 - History of Film Music |
| (3) STAFF |
| Prerequisites: Junior and Senior Music majors with consent of instructor. |
| The history of film music from silent film to present topics include style characteristics of major film composers and techniques used for various genres. |
| MUS 188 - Ethnomusicology Forum |
| (1) STAFF |
| Prerequisites: Consent of instructor. |
| A forum for the presentation of research and performance by students, faculty, and visiting scholars and performers. |
| MUS 191 - Special Topics |
| (2-4) STAFF |
| Prerequisites: Upper-division standing and consent of instructor. |
| Special seminar in selected problems of current musicology, ethnomusicology, theory, or performance. |
| MUS 192 - B.A. Senior Project |
| (3) STAFF |
| Prerequisites: Open to Senior Music majors only. |
| Preparation of senior audition, composition, or paper. |
| MUS 195 - Junior Recital |
| (2) STAFF |
| Prerequisites: Passing of B.M. sophomore audition; open to upper-division Bachelor of Music Performance Emphasis major only. |
| Preparation of junior recital. |
| MUS 195B - Junior Composition Portfolio |
| (2) STAFF |
| Prerequisites: Passing of B.M. sophomore audition; and, consent of instructor; open to upper-division Bachelor of Music Composition Emphasis major only. |
| Preparation of junior composition portfolio. |
| MUS 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. |
| MUS 197 - Senior Recital |
| (3) STAFF |
| Prerequisites: Passing of junior recital; open to senior Music Performance emphasis majors only. |
| Preparation of senior recital. |
| MUS 197B - Senior Composition Portfolio and Recital |
| (3) STAFF |
| Prerequisites: Passing of junior composition portfolio; and, consent of instructor; open tsenior BM Composition emphasis majors only. |
| Preparation of senior composition portfolio. |
| MUS 198 - Readings In Music |
| (1-4) STAFF |
| Prerequisites: Upper-division standing; completion of three quarters of the Music 112A-F series; consent of instructor. |
| Critical review and discussion of related topics in musicology, ethnomusicology, composition, theory, or performance. |
| MUS 199 - Individual Research in Music |
| (1-4) STAFF |
| Prerequisites: Upper-division standing; completion of three quarters of the Music 112AB-F series; consent of instructor. |
| 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. |
| MUS 199RA - Independent Research Assistance in Music |
| (1-4) STAFF |
| Prerequisites: Upper-division standing; completion of three quarters of the Music 112AB-F series; consent of instructor and department. |
| Faculty supervised research assistance. |
| MUS CS 199 - Independent Studies |
| (1-6) STAFF |
| Prerequisites: Consent of instructor. |
| Serious independent study in music with consenting faculty member. |
| MUS 200A - Bibliography and Research Techniques |
| (4) STAFF |
| A survey of music bibliography and research methods. |
| MUS 200B - Bibliography and Research Techniques |
| (4) STAFF |
| Survey and discussion of select historical, methodological, and theoretical approaches to research in musicology. |
| MUS 200C - Bibliography and Research Techniques |
| (4) Hsu |
| Survey of bibliographic sources and individual research projects in ethonomusicology. |
| MUS 200D - Bibliography and Research Techniques |
| (4) STAFF |
| A survey of music bibliography and research methods in theory. |
| MUS 201A - Notation and Music: Their Historical Interrelation |
| (4) Planchart, Prizer |
| Plainchant-early polypho ny-modal notation. |
| MUS 201C - Notation and Music: Their Historical Interrelation |
| (4) Planchart, Prizer |
| White mensural notation, lute and keyboard tablatures. |
| MUS 202A - Semester in Musicology |
| (4) STAFF |
| Issued upon completion of music 202a. May be repeated for credit. Seminar in musicology. A two-quarter doctoral seminar dealing with selected topicsin musicology. |
| MUS 202B - Semester in Musicology |
| (4) STAFF |
| Upon completion of music 202B. May be repeated for credit. Seminar in musicology. A two-quarter doctoral seminar dealing with selected topics inmusicology. |
| MUS 203MT - Musicology-Theory Forum |
| (1) STAFF |
| Prerequisites: Graduate standing in musicology or theory emphasis. |
| Theory students, faculty, and visiting scholars to present their current research. |
| MUS 204A - Graduate Musicianship I |
| (1) STAFF |
| Prerequisites: Graduate standing. |
| 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 204 as a pedagogical study. |
| MUS 204B - Graduate Musicianship II |
| (1) STAFF |
| Prerequisites: 204A. |
| Continues skills of 204A; reviews musicianship skills for modulation. All graduate students encouraged to enroll; theory/ composision students shouldespecially consider 204B as a pedagogical study of musicianship. |
| MUS 204C - Graduate Musicianship III |
| (1) STAFF |
| Prerequisites: Music 204B. |
| Continue skills of Music 204A and B; reviews musicianship skills for chromatic harmony. |
| MUS 207A - Seminar in Orchestration |
| (4) Kraft |
| Prerequisites: Graduate standing in composition. |
| Instrumental families of the orchestra. |
| MUS 207B - Seminar in Orchestration |
| (4) Kraft |
| Prerequisites: Graduate standing in composition. |
| Writing for full orchestra. |
| MUS 208 - Graduate Composition |
| (4) Barlow, Feigin, Kuchera-Morin |
| Prerequisites: Consent of instructor. |
| Individual instruction in composition. |
| MUS 209IA - Direct Digital Synthesis, Processing and Composition |
| (4) Kuchera-Morin |
| Prerequisites: 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. |
| MUS 209IB - Direct Digital Synthesis, Processing and Composition |
| (4) Kuchera-Morin |
| Prerequisites: Music 109IA. |
| Second quarter of a three-quarter sequence 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. |
| MUS 209LA - Real-Time Digital Music Synthesis, Processing and Composition |
| (2) Roads |
| Prerequisites: Consent of instructor. Graduate music majors and graduate non-majors in areas of electrical engineering, computer science, physics, and mathematics. |
| First quarter of a three-quarter sequence course will concentrate on multi-track recording, mixing, digital signal processing using micro-computers and special purpose dsp equipment. |
| MUS 209LB - Real-Time Digital Music Synthesis, Processing and Composition |
| (2) Roads |
| Prerequisites: Music 209LA. |
| Second quarter of a three-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. |
| MUS 209LC - Real-Time Digital Music Synthesis, Processing and Composition |
| (2) Roads |
| Prerequisites: Music 209LA and 209LB. |
| Third quarter of a three-quarter sequence course will concentrate on real-time computer music composition with micro-computer and digital synthesis/processing equipment. |
| MUS 209N - Special Topics in Computer Music and Digital Signal Processing |
| (3) Kuchera-Morin, Roads |
| Prerequisites: Music 209LA-B-C, or Music 209IA-B-C. |
| Advanced topics in computer music composition, synthesis, and digital signal processing. |
| MUS 211A - Contemporary Techniques |
| (4) Feigin |
| Prerequisites: Passing grade on all theory placement examinations. |
| A detailed study of contemporary compositional techniques. Extensive compositional exercises will be required in whole-tone, pentatonic, quartal, pitch-set, tone-row, process, percussion, and aleatoric composition. |
| MUS 211B - Contemporary Techniques |
| (4) Feigin |
| Prerequisites: Passing grade on all theory placement 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. |
| MUS 211C - Contemporary Techniques |
| (4) Feigin |
| Prerequisites: Passing grade on all theory placement 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. |
| MUS 212A - Canon and Fugue |
| (4) Feigin |
| Prerequisites: 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. |
| MUS 212B - Canon and Fugue |
| (4) STAFF |
| Prerequisites: 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. |
| MUS 212C - Canon and Fugue |
| (4) STAFF |
| Prerequisites: 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. |
| MUS 219 - Applied Instruction |
| (2) STAFF |
| Applied vocal or instrumental instruction for graduate students other than in the performance emphasis discipline of MM and DMA degree programs. |
| MUS 220 - MM/DMA Performance Instruction |
| (3-4) STAFF |
| Prerequisites: Entrance audition for MM or DMA degree program. |
| Applied instruction in the performance emphasis discipline (MM piano accompanying: instruction in piano) of MM and DMA degree programs. |
| MUS 222X - Practicum in World Music Performance |
| (1-2) Marcus |
| Prerequisites: Consent of instructor. |
| Individual or group instruction in non-western instruments or vocal styles. |
| MUS 224 - Organology |
| (4) Hsu |
| A systematic study of musical instruments in world cuiltures involving classification, distribution, acoustical phenomena, and physical typo- groupings, and the role of musical instruments in the study of acculturation, historical diffusion, and aesthetics. |
| MUS 225 - Field and Laboratory Methods in Ethnomusicology |
| (4) STAFF |
| Prerequisites: 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, questionaires, and interviewing. The use and interpretation of standard and innovative laboratory methods for processing data, including computer analysis. |
| MUS 226 - Notation and Transcription in Ethnomusicology |
| (4) STAFF |
| Prerequisites: Graduate standing. |
| Survey of existing notational systems and exercises in ethnomusicological transcription, with particular attention to issues related to the visual representation of performed musical sound. |
| MUS 227 - Seminar in Ethnomusicology |
| (4) STAFF |
| Prerequisites: Graduate standing in ethnomusicology. |
| A graduate seminar examining special problems, current theories, analytic procedures, and recent innovations in ethnomusicology. |
| MUS 230 - Orchestral Conducting |
| (2) Ohyama |
| 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. |
| MUS 231 - Choral Conducting |
| (2) Gervais |
| Advanced conducting techniques, score reading and analysis, rehearsal techniques and repertoire for vocal and choral ensembles. |
| MUS 231T - Choral Techniques |
| (2) Gervais |
| Prerequisites: Music 231 (may be taken concurrently) and 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 organization aspects of vocal ensemble. |
| MUS A 232 - Young Soloists Ensemble |
| (2) Gervais |
| Prerequisites: Enrollment by audition |
| No Restrictions |
| A small, select vocal ensemble specialized in one- or two-on-a-part singing. Requires concurrent enrollment in Mus A235, A236 or A237.
|
| MUS A 232A - Young Soloists Ensemble |
| (2) Gervais |
| Prerequisites: 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. |
| MUS 233C - Score Reading |
| (2) STAFF |
| Prerequisites: Consent of instructor. |
| 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. |
| MUS A 234 - Wind Ensemble |
| (2) Bambach |
| Prerequisites: Entrance by audition. |
| Masterworks of the literature for ensembles smaller than orchestral or fullband scoring. Although the basic ensembles feature winds, both strings and percussion are utilized. Advanced players only. |
| MUS 235A - Accompanying Techniques and Repertoire |
| (2) Epperson |
| Prerequisites: Consent of instructor. |
| Emphasizes advanced accompaniment techniques, the intensive study of the French and German song cycle, secco recitative, and orchestral score-reading. |
| MUS 235B - Accompanying Techniques and Repertoire |
| (2) Epperson |
| Prerequisites: Consent of instructor. |
| Emphasizes advanced accompaniment techniques, the intensive study of the French and German song cycle, secco recitative, and orchestral score-reading. |
| MUS 235C - Accompanying Techniques and Repertoire |
| (2) Epperson |
| Prerequisites: Consent of instructor. |
| Emphasizes advanced accompaniment techniques, the intensive study of the French and German song cycle, secco recitative, and orchestral score-reading. |
| MUS 235D - Accompanying Techniques and Repertoire |
| (2) Epperson |
| Prerequisites: Consent of instructor. |
| Emphasizes advanced accompaniment techniques, the intensive study of the French and German song cycle, secco recitative, and orchestral score-reading. |
| MUS 235E - Accompanying Techniques and Repertoire |
| (2) Epperson |
| Prerequisites: Consent of instructor. |
| Emphasizes advanced accompaniment techniques, the intensive study of the French and German song cycle, secco recitative, and orchestral score-reading. |
| MUS 235F - Accompanying Techniques and Repertoire |
| (2) Epperson |
| Prerequisites: Consent of instructor. |
| Emphasizes advanced accompaniment techniques, the intensive study of the French and German song cycle, secco recitative, and orchestral score-reading. |
| MUS A 236 - UCSB Chamber Choir |
| (2) Gervais |
| Prerequisites: Enrollment by audition. |
| No Restrictions |
| A select ensemble of voice majors and non-majors, the Chamber Choir prepares musicians for professional ensemble work and offers advanced study in choral literature, techniques, styles and interpretation covering five centuries of choral repertoire.
|
| MUS A 236A - Chamber Choir |
| (2) Gervais |
| Prerequisites: Enrollment by audition. |
| 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. |
| MUS A 237 - UCSB Women's Chorus |
| (2) Gervais |
| Enrollment by auditionNo restrictions |
| For female voices only, this chorus performs the main repertory for treble voices, including a cappella and accompanied works from the Renaissance to the 20th century. Occasionally undertakes collaborative projects with the Men's Chorus.
|
| MUS A 237M - UCSB Men's Chorus |
| (2) Gervais |
| Enrollment by auditionNo Restrictions |
| For male voices only, this chorus performs a wide range of choral music, from classical works of the Renaissance to the 20th century, as well as lighter fare normally associated with glee club choirs. Occasionally undertakes collaborative projects with the Women's Chorus.
|
| MUS A 238 - Opera Workshop |
| (2) Sokol |
| Prerequisites: Audition. |
| Participation in opera scenes. |
| MUS A 238P - Opera Production |
| (2) STAFF |
| Prerequisites: Audition. |
| Participation in annual opera production. |
| MUS 239 - Advanced Study of Orchestral Repertoire for Instrumentalists |
| (2) Ohyama |
| 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. |
| MUS A 239 - Guitar Ensemble |
| (2) Head |
| Guitar Ensemble. |
| MUS A 240 - Ensemble for Contemporary Music |
| (2) STAFF |
| Prerequisites: Enrollment by audition; graduate students only. |
| Reading sessions and preparation for performanc of contemporary music. There are one or two concerts each quarter. Includes departmental scholarship players, and is open to composers who also perform. |
| MUS A 241 - Piano Ensemble |
| (2) Asche, Berkowitz, Oberacker |
| Piano duets (1 piano, 4 hands) and duos (2 pianos) in separate sections. |
| MUS A 242 - Orchestra |
| (2) Schindler |
| Prerequisites: Admission by audition. |
| Orchestra. |
| MUS A 243 - Flute Choir |
| (2) Felber |
| Prerequisites: Admission by audition. |
| Flute Choir. |
| MUS A 244 - Chamber Music Ensemble |
| (2) STAFF |
| Prerequisites: Admission by audition. |
| Chamber Music Ensemble. |
| MUS A 245 - Brass Quintet |
| (2) Gross |
| Prerequisites: By audition. |
| Participation in scholarship brass quintet. |
| MUS A 245BR - Brass Orchestral Repertoire |
| (2) Gross |
| Prerequisites: Graduate standing; by audition. |
| Intensive exploration of staple brass orchestra repertoire, emphasizing the works of important 19th and 20th century composers. Classes include rehearsal sessions, guided listening and analysis, mock auditions, resume and taped audition preparation. |
| MUS A 245H - Horn Ensemble. |
| (2) Gross |
| Prerequisites: By audition. |
| Horn Ensemble. |
| MUS A 246 - Clarinet Choir. |
| (2) Bambach |
| Prerequisites: Enrollment by audition. |
| Clarinet Choir. |
| MUS A 247S - Jazz Ensemble. |
| (2) Nathan |
| Prerequisites: Admission by audition. |
| Jazz Ensemble. |
| MUS A 248 - Early Music Choir |
| (2) STAFF |
| Prerequisites: Entrance by audition. |
| Early music choir. |
| MUS A 248S - Collegium Musicum: Musica Antiqua |
| (2) Kronour |
| Prerequisites: Enrollment by audition. |
| Performance workshop in medieval and renaissance music. Specializes in instrumental and solo vocal music. |
| MUS A 249 - Percussion Ensemble. |
| (2) Magnussen |
| Prerequisites: Admission by audition. |
| Percussion Ensemble. |
| MUS 250A - Seminar in Music Theory |
| (4) Van Den Toorn, Hall |
| Analysis and theory of atonal music. |
| MUS 250B - Seminar in Music Theory |
| (4) Van Den Toorn, Hall |
| Analysis and theory of twelve-tone music. |
| MUS 251A - Seminar in the History of Theory |
| (4) Rothfarb, Van Den Toorn |
| History of early music theory. |
| MUS 251B - Seminar in the History of Theory |
| (4) Rothfarb, Van Den Toorn |
| History of music theory from Rameau to Schenker. |
| MUS 252A - Seminar in Schenkerian Analysis |
| (4) Rothfarb |
| Prerequisites: Must be taken in consecutive order. |
| Readings in the theory of Schenkerian analysis. Basic analytical techniques. |
| MUS 252B - Seminar in Schenkerian Analysis |
| (4) Rothfarb |
| Prerequisites: Must be taken in consecutive order. |
| Advanced readings in Schenkerian theory. Analysis of large forms. |
| MUS A 253 - Viola Orchestral Repertoire |
| (2) Callus |
| Prerequisites: Enrollment by audition. |
| The study of the entire standard orchestral repertoire for viola and audition procedures. |
| MUS 256 - Vocal and Instrumental Coaching |
| (2) Staff |
| Prerequisites: Concurrent graduate vocal or instrumental study (Music 220, 219, 235) graduate standing; consent of instructor. |
| Musical preparation of vocal or instrumental works. |
| MUS 257 - Composition Forum |
| (1) STAFF |
| Prerequisites: Music 208. |
| A forum for the presentation and discussion of new works by students, faculty, and guest composers. |
| MUS 258 - Opera/Song Repertoire |
| (2) Harley |
| Prerequisites: 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. |
| MUS 260D - Tuning and Temperament |
| (4) Marcus |
| Prerequisites: 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. |
| MUS 260E - The Arab System of Melodic Modes (Maqamat) |
| (4) Marcus |
| Prerequisites: Consent of instructor; graduate standing. |
| 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, tetrachordal structures, theories of intonation), analysis of pieces in the repertoire, and procedures governing improvisation. |
| MUS 260F - Sound Color |
| (4) Hajda |
| 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. |
| MUS 261 - Seminar in Musicology: The Middle Ages |
| (4) Prizer |
| Graduate seminar in music of the middle ages. |
| MUS 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. |
| MUS 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. |
| MUS 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. |
| MUS 262G - Other Issues in Ethnomusicology |
| (4) STAFF |
| A study of other cultural issues in ethnomusicology. Specific topics vary by quarter and will be announced in advanced by the department. |
| MUS 262H - Music and Tourism |
| (4) Cooley |
| Students read folklore, anthropology, tourism studies, musicology, and ethnomusicology in an attempt to develop theories for interpreting the impact of tourism on music locally and globally. |
| MUS 262I - Film Music Cognition |
| (4) Hajda |
| A consideration of film music as a medium of communication between the director, composer, music supervisor, editors, performers and the audience. Emphasis given to cognitive psychological theories of meaning in terms of structure and affect in audio/visual contexts. Students are required to propose and complete an experiment in film music cognition. |
| MUS 262X - Umm Kulthum: Her Music, Her Life, Her Times |
| (4) Marcus |
| Prerequisites: Consent of instructor. |
| Analysis of the music, life and times of the predominant Arab singer of thetwentieth 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.). |
| MUS 263 - Seminar in Musicology: The Renaissance |
| (4) STAFF |
| Graduate seminar in Renaissance music. |
| MUS 265A - Seminar in Music of the Baroque Period |
| (4) Freeman, Prizer |
| Early baroque. |
| MUS 266 - Seminar in Musicology: The Classical Period |
| (4) Tcharos |
| Graduate seminar in music of the classical period. |
| MUS 268 - Seminar in Musicology: The Romantic Period |
| (4) STAFF |
| Graduate seminar in music of the Romantic period. |
| MUS 269 - Seminar in Musicology: The Twentieth Century |
| (4) STAFF |
| Graduate seminar in music of the twentieth century. |
| MUS A 270 - Ethnomusicology Performance Ensemble |
| (2) STAFF |
| Prerequisites: Enrollment by audition. |
| 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; P. West African Drumming; V. Gospel Choir. |
| MUS A 270J - Ethnomusicology Performance Ensemble |
| (2) STAFF |
| Prerequisites: Enrollment by audition. |
| Group performance of music from selected world cultures: j. Beginning gamelan. |
| MUS 273 - Studies in Music Theory |
| (4) STAFF |
| Selected topics in musical analysis. |
| MUS 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. |
| MUS 276A - Studies in Ethnomusicology |
| (4) Cooley |
| 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. |
| MUS 276B - Studies in Ethnomusicology |
| (4) Cooley |
| 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. |
| MUS 278A - Performance Practices |
| (4) Freeman, Kraft |
| 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. |
| MUS 278B - Performance Practices |
| (4) Freeman, Kraft |
| A study, through selected works, of twentieth-century music, with particular attention to new notational concepts and their execution. |
| MUS 279 - Proseminar in Medieval Music |
| (4) Prizer |
| Prerequisites: Graduate Standing |
| Passing Medieval section of Guidance exam, or Music 112AB. |
| A selective study of various stylistic and historical aspects of medieval music. |
| MUS 282 - Proseminar in Classical Music |
| (4) Tcharos, Katz |
| Prerequisites: Graduate standing. |
| Passing Classical portion of guidance exam or Music 112D. |
| A selective study of various stylistic and historical aspects of classical music. |
| MUS 283 - Proseminar in Romantic Music |
| (4) Katz |
| Prerequisites: Graduate standing |
| Passing Romantic portion of guidance exam or MUS 112E. |
| A selective study of various stylistic and historical aspects of romantic music. |
| MUS 284 - Proseminar in Contemporary Music |
| (4) Katz |
| Prerequisites: Graduate standing. |
| Passing of 20th C portion of guidance exam or MUS 112F. |
| A selective study of various stylistic and historical aspects of contemporary music. |
| MUS 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 twentieth century. |
| MUS 288 - Ethnomusicology Forum |
| (1) STAFF |
| 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. |
| MUS 291 - Proseminar in Renaissance Music |
| (4) Prizer |
| Prerequisites: Graduate standing. |
| Passsing of Renaissance portion of guidance exam or MUS 112AB. |
| A selective study of various stylistic and historical aspects of renaissance music. |
| MUS 292 - Proseminar in Baroque Music |
| (4) Prizer, Tcharos |
| Prerequisites: Graduate standing. |
| Passsing of Baroque section of guidance exam or Music 112C. |
| A selective study of various stylistic and historical aspects of baroque music. |
| MUS 293E - Music Cultures of the World: China |
| (4) STAFF |
| Examination of the universal music issue through case studies of Chinese musical works, musicians, theories and practices. Special attention given to interdisciplinary understanding of Chinese music and culture. |
| MUS 293F - Music Cultures of the World: Middle East |
| (4) Marcus |
| Prerequisites: Graduate standing. |
| 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. |
| MUS 293G - Music Cultures of the World: India |
| (4) Marcus |
| Prerequisites: Graduate standing. |
| 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 rythmic structures (raga and tala). |
| MUS 293K - Music Cultures of the World: Other Regions |
| (4) STAFF |
| 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 announcedin advance by the Department of Music. |
| MUS 293L - Music Culture of the Polish Tatra Mountains |
| (4) Cooley |
| The Tatras are the home of a distinct folk culture, including music based on polyphonic singing and violin ensembles. Course investigates the present day music from this region and its history, and examines the influence of tourism and ethnography on the music culture. |
| MUS 293M - American Folk Music |
| (4) Cooley |
| The study of English-language American folk music, using mixed-media tools for learning. The focus is on string band music often associated with Appalachia and usually called "oldtime," and the the distinct but related styles of bluegrass and country. |
| MUS 295A - Master of Music Performances |
| (2) STAFF |
| Prerequisites: Recital audition required. Master of Music students only. |
| Preparation of: a. a full length recital (conducting: the equivalent of a full-length concert.) |
| MUS 295B - Master of Music Performances |
| (2) STAFF |
| Prerequisites: Recital audition required. Master of Music students only. |
| Preparation of: b. a major performance: chamber music recital or concerto or major opera/oratorio role or another full-length recital (conducting: the equivalent of a chamber ensemble or small ensemble or large ensemble ormixed concert). |
| MUS 296 - 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 |
| MUS 297A - Doctor of Musical Arts Performances |
| (2) STAFF |
| Prerequisites: Recital audition required. |
| Preparation of chamber music recital or concerto or major opera/oratorio role or a full length recital (conducting: the equivalent of a chamber ensemble or small ensemble or large ensemble or mixed concert). |
| MUS 297B - Doctor of Musical Arts Performances |
| (2) STAFF |
| Prerequisites: Recital audition required. |
| Preparation of a full-length recital (conducting: the equivalent of a full-length concert). |
| MUS 299A - Doctor of Musical Arts Seminar: Historical/Theoretical Aspects of Music |
| (4) STAFF |
| Prerequisites: Music 200A. |
| A study of selected repertories, not confined to a single genre or period, from the technical perspective of music thoery and history. |
| MUS 299B - Doctor of Musical Arts Seminar: Historical/Theoretical Aspects of Music |
| (4) STAFF |
| Prerequisites: Music 200A. |
| A study of selected repertories, not confined to a single genre or period, from the technical perspective of music thoery and history. |
| MUS 501 - Directed Teaching in Music |
| (2-4) STAFF |
| Covers development of teaching techniques especially oriented to lower-division instruction. Theoretical aspects covered at beginning of each quarter. Practical techniques discussed including weekly meeting with class instructor. Required course for all teaching assistants. |
| MUS 502 - Teaching Practicum |
| (2-4) STAFF |
| Teaching assistant: leads discussion of topics covered in the lecture. Associate: assumes full responsibility for the teaching of one or more courses. |
| MUS 594 - Special Topics |
| (2-4) STAFF |
| Special seminar in selected problems of current musicology, ethnomusicology, composition, theory, or performance. |
| MUS 595 - Group Studies |
| (2-4) STAFF |
| Critical review of research in selected problems of musicology, ethnomusicology, composition, theory, or performance. |
| MUS 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. |
| MUS 597 - Individual Study for Master's Comprehensive and Doctoral Qualifying Exam- inations for Advancement to Candidacy |
| (1-12) STAFF |
| Prerequisites: Consent of instructor and graduate advisor. |
| Individual study for master's comprehensive and doctoral qualifying examinations for advancement to candidacy. |
| MUS 598 - Preparation for Master's Degree |
| (1-12) STAFF |
| Instructor will be chair of student's committee in musicology, ethnomusicology, composition, theory, or performance. |
| MUS 599 - Ph.D. Dissertation Research and Preparation |
| (1-12) STAFF |
| Instructor will ordinarily bechair of student's doctoral committee. |
| MUS 599A - Ph.D. Dissertation Research and Preparation |
| (1-12) STAFF |
| Instructor will ordinarily be chair of student's doctoral committee. |
| MUS 599B - Preparation for Doctor of Musical Arts Post-Candidacy Recitals |
| (1-12) STAFF |
| 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. |
| MUS 599C - Preparation of DMA Document |
| (1-12) STAFF |
| Preparation of the DMA document required after advancement to candidacy forthe DMA degree. Instructor should be a member of student's doctoral committee. |