All courses, arranged by program, are listed in the catalog. If you cannot locate a specific course, try the Advanced Search. Current class schedules, with posted days and times, can be found on the NOW/Student Dashboard or by logging in to SiS.
Music Composition 1000 Elective.
Music Composition 2000 Elective.
Music Composition 3000 Elective
Music Composition 4000 Elective.
There is currently no description available for this course.
Pre-Req: Music Majors only.
Required attendance at scheduled Thursday Recital Hours and ten concerts/recital each semester from those listed on the Department of Music Performance Calendar. Seven semesters required of all music majors.
Studio instruction in graduated sequence with keyboard as the principal instrument.
Pre-Req: MUAP.1010 Applied Keyboard 1.
Studio instruction in graduated sequence with voice as the principal instrument.
Pre-Req: MUAP.1110 Applied Voice 1.
Studio instruction in graduated sequence with woodwind as the principal instrument.
Pre-Req: MUAP.1210 Applied Woodwinds 1.
Studio instruction in graduated sequence with brass or percussion as the principal instrument.
Pre-Req: MUAP.1310 Applied Brass & Perc 1.
Studio instruction in graduated sequence with strings as the principal instrument.
Pre-Req: MUAP.1410 Applied Strings 1.
Studio instruction in graduated sequence with keyboard as the principal instrument for performance majors.
Studio instruction in graduated sequence with voice as the principal instrument for performance majors.
Studio instruction in graduated sequence with woodwind as the principal instrument for performance majors.
Studio instruction in graduated sequence with brass or percussion as the principal instrument for performance majors.
Studio instruction in graduated sequence with strings as the principal instrument for performance majors.
Pre-Req: MUAP.1020 Applied Keyboard 2.
Pre-Req: MUAP.2010 Applied Keyboard 3.
Pre-Req: MUAP.1120 Applied Voice 2.
Pre-Req: MUAP.2110 Applied Voice 3.
Pre-Req: MUAP.1220 Applied Woodwinds 2.
Pre-Req: MUAP.2210 Applied Woodwinds 3.
Pre-Req: MUAP.1320 Applied Brass & Perc 2.
Pre-Req: MUAP.2310 Applied Brass & Perc 3.
Pre-Req: MUAP.1420 Applied Strings 2, Bass Players only.
Pre-Req: MUAP.2410 Applied Strings 3, Bass Players only.
Pre-Req: MUAP.1520 Perf Keyboard 1.
Pre-Req: MUAP.2510 Perf Keyboard 2.
Pre-Req: MUAP.1620 Perf Voice 1.
Pre-Req: MUAP.2610 Performance Voice 2.
Studio instruction in graduated sequence with woodwind as the principal instrument for performance majors
Pre-Req: MUAP.1720 Performance Woodwinds 1.
Pre-Req: MUAP.2710 Performance Woodwinds 2.
Pre-Req: MUAP.1820 Performance Brass & Perc 1.
Pre-Req: MUAP.2810 Perf Brass & Perc 2.
Pre-Req: MUAP.1920 Performance Strings 1.
Pre-Req: MUAP.2910 Performance Strings 2.
Pre-Req: MUAP.2020 Applied Keyboard 4.
Pre-Req: MUAP.3010 Applied Keyboard 5.
Pre-Req: MUAP.2120 Applied Voice 4.
Pre-Req: MUAP.3110 Applied Voice 5.
Pre-Req: MUAP.2220 Applied Woodwinds 4.
Pre-Req: MUAP.3210 Applied Woodwinds 5.
Pre-Req: MUAP.2320 Applied Brass & Perc 4.
Pre-Req: MUAP.3310 Applied Brass & Percussion 5.
Pre-Req: MUAP.2420 Applied Strings 4.
Pre-Req: MUAP.3410 Applied Strings 5.
Pre-Req: MUAP.2520 Perf Keyboard 3.
Pre-Req: MUAP.3510 Performance Keyboard 4.
Pre-Req: 72.262 Performance Voice 3.
Pre-Req: MUAP.3610 Performance Voice 4.
Pre-Req: MUAP.2720 Performance Woodwinds 3.
Pre-Req: MUAP.3710 Performance Woodwinds 4.
Pre-Req: MUAP.2820 Perf Brass & Perc 3.
Pre-Req: MUAP.3810 Perf Brass & Perc 4.
Pre-Req: MUAP.2920 Performance Strings 3.
Pre-Req: MUAP.3910 Performance Strings 4.
Pre-Req: MUAP.3020 Applied Keyboard 6.
Pre-Req: MUAP.4010 Applied Keyboard 7.
Pre-Req: MUAP.3120 Applied Voice 6.
Pre-Req: MUAP.4110 Applied Voice 7.
Pre-Req: MUAP.3220 Applied Woodwinds 6.
Pre-Req: MUAP.4210 Applied Woodwinds 7
Pre-Req: MUAP.3320 Applied Brass & Percussion 6.
Pre-Req: MUAP.4310 Applied Brass & Percussion 7.
Pre-Req: MUAP.3420 Applied Strings 6.
Pre-Req: MUAP.4410 Applied Strings 7.
Pre-Req: MUAP.3520 Performance Keyboard 5.
Pre-Req: MUAP 4510 Performance Keyboard 6, and Co-req: MUAP 4991 Senior Recital.
Pre-Req: MUAP.3620 Performance Voice 5.
Pre-Req: MUAP 4610 Performance Voice 6, and Co-req: MUAP 4991 Senior Recital.
Pre-Req: MUAP.3720 Performance Woodwinds 5.
Pre-Req: MUAP 4710 Performance Woodwinds 6, and Co-req: MUAP 4991 Senior Recital.
Pre-Req: MUAP.3820 Perf Brass & Perc 5.
Pre-Req: MUAP 4810 Perf Brass & Perc 6, and Co-req: MUAP 4991 Senior Recital.
Pre-Req: MUAP.3920 Performance Strings 5.
Pre-Req: MUAP 4910 Performance Strings 6, and Co-req: MUAP 4991 Senior Recital.
Public performance to be presented, registered concurrently with Applied Music 8 or Performance Applied Music 7.
Co-req: MUAP.4520 Performance Keyboard 7, or MUAP.4620 Performance Voice 7, MUAP.4720 Performance Woodwinds 7, or MUAP.4820 Performance Brass & Percussion 7, or MUAP.4920 Performance Strings 7.
This course provides students with fundamental collaborative computing tools applicable to the music industry. Topics will include standard office applications, web tools, and media processing tools. Students will develop skills and efficiency through collaboration with each other and outside artists. The internet will provide opportunities for researching relevant sharing platforms for the effective dissemination of information. Projects to include e-press kit creation/promotional website, video creation, and other media development.
Pre-Req: MUBU.3010 Music Business 1.
A systematic look at career options in the Music Industry. Topics discussed include: songwriting, music publishing, national and international copyright law, music licensing, artist management, and concert promotion.
Pre-req: MUTH.1080 Musicianship & Analysis I.
A systematic look at career options in the Music Industry. Topics include: music merchandising, arts administration, record promotion, marketing, and distribution, radio and television broadcasting, advertising and jingle production, and film scoring.
A thorough study of the legal environment within the Music Industry. Topics discussed include:music publishing, national and international copyright law, live performance, managers & agents, music organizations, recording agreements, music publishing, film and television music production, music merchandising, and other contractual obligations.
Pre-Req: MUBU.3020 Music Bus 2.
A thorough study of the principles and application of marketing, promotion, and distribution of products within the Music Industry. Case studies of various music products and companies will be studied and analyzed.
Prepares students to undertake their Internship by providing an in-depth study of how to prepare successfully to enter a career path.
An in-depth study of how to start a successful business within the Music Industry. Case studies of successful entrepreneurs and their companies will be researched and analyzed. Students will develop a written Business Plan for their own Music Business enterprise.
Permission of coordinator required.
Music Business Internship
Pre-Req: MUBU.4010 Music Business Seminar.
An introduction to sequencing, looping, editing, and mixing concepts in digital audio workstations. Students learn basic digital gain staging, scoring and sound design, realization of MIDI mock ups, audio theory, file maintenance and workflow strategies through hands-on laboratory exercises with keyboard controllers, software synthesizers, and sample libraries.
Pre-Req: Music majors only, or Instructor permission.
Part of the Music Core, Applied Lessons consist of private instrumental, vocal, and composition lessons plus additional instruction in a group setting. All music majors are required to take Applied Lessons for either six semesters (SRT,BUS) or eight semesters (MS, PERF). Applied Composition students take four semesters of an applied secondary instrument and four semesters focused on building the composition portfolio.
Part of the Music Core, Applied Lessons consist of private instrumental, vocal, and composition lessons plus additional instruction in a group setting. All music majors are required to take Applied Lessons for either six semesters (SRT, BUS) or eight semesters (MS, PERF). Applied Composition students take four semesters of an applied secondary instrument and four semesters focused on building the composition portfolio.
Pre-req: MUCM.1030 Applied Composition I.
Music Composition 1000 Level Elective.
Group instruction in basic re-harmonization techniques and their practical application for realizing original compositions. The course explores block chords, arranging concepts, modal textures, and counterpoint. Students develop keyboarding techniques for arranging purposes.
Pre-req: MUTH.1090 Musicianship & Analysis 2.
A deeper exploration of re-harmonization techniques and voicing concepts along with their applications in medium and large ensemble writing. Students apply block-chord techniques, transcription, and simple improvisation to realize new arrangements and compositions along with developing functional two-handed keyboard technique in a variety of contemporary styles.
Pre-req: MUCM.2010 Keyboarding for Arrangers I.
Part of the Music Core, Applied Lessons consist of private instrumental, vocal, and composition lessons plus additional instruction in a group setting. All music majors are required to take Applied Lessons for either six semesters (SRT, BUS) or eight semesters (MS, PERF). Applied Composition students take four semesters of an applied secondary instrument and four semesters focused on building the composition portfolio. Permission of Instructor.
Editing concepts are developed and refined during the post-production phase. Students learn tempo-mapping techniques, advanced synchronization with dialog and effects, mixing and final delivery concepts so that soundtrack elements appropriately support the visual medium. Students explore the role of temporary scores to guide creative and editing decisions. Students transcribe and prepare scores for a variety of ensembles and learn the principles of transposition, ornamentation, layout and note accuracy. Final project includes an original notated score for visual media. Permission of Instructor.
This course introduces the concept of the "sound collage" for creative purposed. Students gather commonly accessible sounds with portable recorders and explore synthesis techniques using digital audio workstations. The course explores the expressive role of sound in commercial applications, mash ups, and music composition. Includes a historical overview and discussion of eletroacoustic music.
Pre-req: MUCM.1010 Audio Production Fundamentals, or Permission of Instructor.
Music Composition 2000 Level Elective.
This course explores interdisciplinary collaboration with the Art, Theater, and Digital Media areas. Contemporary issues and practices in music composition are explored through approved practicum experiences, directed study, guest lectures, group collaborative projects, and independent research.
Pre-req: MUCM.2030 Applied Composition 3.
Group instruction in writing for solo performers and small ensembles. Students write individual pieces and receive weekly feedback from peers and faculty members. The composer-artist relationship is explored in depth along with a live recital performance of student compositions.
Pre-req: MUTH.2090 Musicianship & Analysis 4, and Music Majors only.
Instruction in Dalcroze Eurhythmics concepts. Topics include rhythmic movement, body motion, multimodal ear-training approaches, improvisation and performance aesthetics. Students learn complex rhythmic concepts through simple dance motions, group interaction, and multi-sensory listening. Course includes approaches for solo and group improvisation for composers and performers.
Pre-req: MUTH.2090 Musicianship and Analysis 4.
Music Composition 3000 Level Elective.
Integration of original music, sound effects, and dialog assets into standard game engine software. The course explores audio implementation, scripting and basic coding concepts using middleware platforms. Permission of instructor.
Music Composition 4000 Level Elective.
All students who are registered for 73.151 Introduction to Music Education are required to sign up for Observation lab 1 and complete 15 hours of school observations outlined by course Instructor.
Co-Req: MUED.1510 Intro to Music Ed.
Intensive class instruction toward the development of basic performance proficiency on brass instruments and the development of pedagogical skills and techniques for beginning instruction and demonstration purposes.
Pre-Req: MUED.1510 Intro to Music Ed.
A continuation of 73.141. Intensive class instruction toward the development of basic performance proficiency on brass instruments and the development of pedagogical skills and techniques for beginning instruction and demonstration purposes.
Pre-Reqs: MUED 1510 Intro to Music Ed and MUED 1410 Intro to Brass Pedagogy I.
Intensive class instruction toward the development of basic performance proficiency on the guitar and the development of pedagogical skills and techniques for beginning instruction and demonstration purposes.
Intensive class instruction toward the development of basic performance proficiency on woodwind instruments and the development of pedagogical skills and techniques for beginning instruction and demonstration purposes.
A continuation of 73.144. Intensive class instruction toward the development of basic performance proficiency on woodwind instruments and the development of pedagogical skills and techniques for beginning instruction and demonstration purposes.
Pre-Reqs: MUED 1510 Intro to Music Ed and MUED 1440 Intro to Woodwinds I.
Designed to provide the student with an overview of the principles and practices of music education in today's public schools. Students will observe regular classrooms and music instruction at all levels of N-12 education. This course is a prerequisite for all professional education courses in music education and includes the component of required pre-practicum fieldwork.
Co-Req: MUED.1000 Observation Lab 1.
Intensive class instruction toward the development of basic performance proficiency on percussion instruments and the development of pedagogical skills and techniques for beginning instruction and demonstration purposes.
All students who are registered for 73.410 Globas Music for the Classroom are required to sign up for Observation Lab 2 and complete 20 hours of school observations outlined by course instructor.
Co-Req: MUED 4100 Global Music for Classroom.
Special Topics: Sound Thinking is an interdisciplinary elective for sophomore-level undergraduates that explores issues of sound production, musical form, or music in multimedia, depending on faculty and student interest. It is co-taught by Music and Computer Science faculty.
Intensive class instruction toward the development of basic performance proficiency on string instruments and the development of pedagogical skills and techniques for beginning instruction and demonstration purposes.
Intensive class instruction toward the development of basic performance proficiency on string instruments and the development of pedagogical skills and techniques for beginning instructionand demonstration purposes.
Pre-Reqs: MUED 1510 Intro to Music Ed and MUED 2410 Intro to Strings Ped I.
Intended to cultivate the fundamental principles of singing. The psychology of singing and the psychology of the singing voice are considered as they apply to tone production and resonance.
A continuation of Voice Pedagogy 1. Intended to cultivate the fundamental principles of singing. The psychology of singing and the psychology of the singing voice are considered as they apply to tone production and resonance.
Pre-Req: MUED.2440 Intro To Voice Ped 1.
This course develops students practical skills in leading and accompanying solo, small and large group performances. Students will accompany their own singing and the singing and performing of others using the piano, guitar, hand percussion, and an original computer arrangement. Original arrangement analysis and production projects will be integrated throughout the semester including realizing lead sheets from sheet music and recordings, performing basic comping, rhythmic, and strumming patterns, and arranging, sequencing and producing accompaniments via computer software. This course culminates in a school or community service-learning performance leading and accompanying youth in singing.
This course introduces student to pedagogical approaches supporting music performance and production in progressive music experiences in school and community music settings. Students will develop basic performance technique on common progressive performance instruments such as electric guitar and bass, drum set, and keyboard. Students will also develop basic proficiency in live sound reinforcement, including setting up a PA, vocal microphone techniques, and live mixing and balancing. Students will work in small peer groups designing and facilitating small group performance experiences, including songwriting, analysis, arranging and covering music for acoustic and electronic instruments. Students will have experiences facilitating individual and small group instruction with their peers.
Pre-Practicum Field and Service learning teaching experiences tied to General Music Methods 1. Students observe and teach in partnership schools under the mentorship of Lowell music teachers and course instructor.
Co-Req: MUED 4200 General Music Methods I.
Introduction to the role of computers and tecjnology in music education programs.
Course includes the development of computer literacy., including knowledge of word processing, database and spreadsheet applications as essential to educators, and explores MIDI, the Internet, music software, recording, multimedia and other technologies as educational tools.
Pre-req: MUED.1510 Intro to Music Education, and MUHI.2620 Survey of Music History 2, and MUTH.2090 Musicianship and Analysis 4.
Examination of appropriate choral repertoire for the secondary school level and effective choral rehearsal techniques. Covers auditioning, warmups, choral tone, diction, score preparation, and development of fundamental musicianship skills necessary for a successful choral ensemble. Serves as a choral laboratory setting for the practice of score preparation and rehearsal techniques.
Pre-req: MUED.4200 General Music Methods I, and Co-req: MUED.3940 Choral Repertoire and Rehearsal Techniques.
All students who are registered to 73.430 General Music Methods 2 are required to sign up for Observation Lab 4 and complete 20 hours of school observations outlined by course Instructor.
Co-Req: Gen Music Methods 2.
Focus on the music education profession's response to multiculturalism in education as evidenced through the National Music Standards and an examination of resources and methodologies for teaching and understanding the music of diverse cultures, styles, and genres. As one of the core professional music education courses, the course includes the component of pre-practicum fieldwork.
There will be an additional research project for Graduate Students enrolled in 73.500.
Pre-Req: MUED.3010 Technology In Music Ed; Co-Req: MUED.2000 Observation Lab 2
A course designed to present the basic fundamentals of general music pedagogy, including lesson planning and the writing of instructional objectives. The course discusses basic principles of curriculum and instruction, assessment, learning styles, and developmental psychology. These are related to state curriculum frameworks and National Music Standards 1-5. As one of the core professional music education courses, the course includes the component of pre-practicum fieldwork in selected settings.
Pre-req:MUED 3010 Technology in Music Ed, MUED 4100 Global Music for Classroom, MUED 2000 Observation Lab 2, and Co-req: MUED 3000 Observation Lab 3.
Investigation of some of the most popular methods of teaching general music, including Orff, Kodaly, Dalcroze, and comprehensive musicianship. Discussion of contemporary issues including music in special education, multicultural music education, and National Music Standards 6-9. As one of the core professional music education courses, the course includes the component of fieldwork in selected settings.
Pre-Req: MUED 4200 General Music Methods 1; Co-Req: MUED 4000 Observation lab 4
Examination of appropriate instrumental repertoire for the secondary level and effective instrumental rehearsal techniques. Includes study of rehearsal planning, score preparation, and the development of fundamental musicianship skills necessary for a successful instrumental ensemble.
Designed to supplement the experiences of the instrumental methods courses. Students gain experience performing on secondary instruments, planning lessons for beginning and intermediate level instrumental ensembles, sand conducting in these settings.
Co-req: MUED.4200 Global Music for the Classroom, and MUED.4920 Instrumental Repertoire and Rehearsal Techniques.
Designed to supplement the experiences of the choral and vocal methods courses. Students gain experience by planning lessons for elementary and secondary school level vocal ensembles and conducting in these settings.
Individual work under the supervision of a member of the music education faculty on a specific topic approved by the instructor and the music education faculty. Permission of Coordinator of Music Education required.
Open to all students by audition. Works from the orchestral repertoire are studied and publicly performed with additional opportunities for solo accompaniment.
Open to all students by audition. Compositions are selected from a wide repertoire of wind ensemble literature for study and performance. Opportunity for solo performance with wind ensemble accompaniment.
Open to all students by audition. Selected band repertoire studied and performed.
Open to all students of the University, without regard for major field of study. The marching band performs at University events and at selected band festivals throughout New England. Custom musical arrangements and visual designs are featured. No audition required.
Open to all students by audition. A wide spectrum of jazz orchestration and solo performance is studied and performed.
This ensemble provides students with an introduction to the skills, knowledge, and attitudes necessary for satisfactory ensemble performance, namely: adequate technical facility for successful ensemble participation; functional knowledge of musical grammar and syntax in reference to its application in ensemble performance; proper application of aural and rhythmic skills in an ensemble setting; music sensitivity in relation to ensemble performance; and a knowledge of the protocols of ensemble preparation and performance. Emphasis on utilization of major scales and chords through application in both classical and jazz styles.
Ensemble Performance 2 is an introduction to the fundamentals of the jazz idiom, jazz teory, and jazz improvization. Topics include correct interpretation of jazz rhythm and articulation, basic jazz theory, and the development of improvised melodies. Students will play in small ensembles, or "combos", in this course. Students are expected to have at least an intermediate level of skill on their instruments at the time they begin this course.
Introduction to multiple styles of American popular music: more advanced harmony and rhythm; improvisiong on common chord progressions; semi-independent combos.
Performing advanced jaz and pop compositions; advanced improvisation; semi-independent combos.
Open to all students by audition. Provides a wide range of performance experience through varied brass literature.
Open to all students by audition. Exploration of the growing body of literature for percussion ensemble. Public performance.
Open to all students by audition. Provides study and performance of literature for guitar, lute, etc. Required of all guitar majors each semester.
Open to all students by audition. Provides performance experiences through varied piano ensemble literature for one and two pianos.
Open to all students by audition. Offers a wide range of performance experience through a selection of literature for varying combinations of instruments.
Open to all students by audition. Provides experience in the performance of string orchestra literature.
Open to all students by audition. Provides experience in the performance of jazz literature for groups ranging from four to eight members.
Open to all students by audition. Provides students with a clear understanding of the skills, knowledge and attitudes necessary to satisfactory ensemble performance and practical experience in the application of such skills, knowledge and attitudes.
An immersion into the music of non-western cultures, this course will provide instrumental and vocal instruction, as well as and introduction to the theory and cultural contexts that shape the practice of traditional music. The ensemble will meet weekly, with the coal of a public performance at the close of the semester.
Open to all students by audition. Fusion big band covering a wide variety of contemporary jazz rock literature. Solo improvisational opportunities. Numerous performances.
Explores the electronic production and manipulation of music in a live ensemble setting. Students will incorporate synthesis, signal processing, sampling, etc. into a musical framework. Beside performing from the constantly expanding repertoire of electronic music, students will be encouraged to create original compositions and arrangements for the ensemble. A public performance will be given at the end of each semester.
This ensemble will feature variable topics focusing on musical practices that fall outside of typical Western-music traditions. Possibilities include contemporary concert music, improvisation, early music, electronic dance music, performances for music therapy, and many more. The ensemble is open to all students based on audition.
This ensemble will offer students the opportunity to explore and develop their abilities on a secondary instrument. Topics for section include percussion for non-percussionists, piano for non-pianists, and guitar for non-guitarists. Open to all students based on permission of instructor.
A small, select choir open to all singers by audition. Performs music ranging from the present day to the Middle Ages.
Open to all students by audition. Includes the study and performance of a wide variety of choral compositions.
A large chorus open to the campus and the community without audition. Performs larger works in the choral repertoire including oratorios, masses, motets and opera.
This course is designed to facilitate a greater range of creative expression for aspiring songwriters by analyzing the musical and lyric components of a song composition, posing songwriting problems to be solved, and developing an identifiable musical style.
Co-req: MUTH.3001 Songwriting.
An aural introduction to the various types of European concert music from the 18th through the 20th century. This course emphasizes aural acquaintance with literature and genre and consists of in-class listening and discussion designed to enhance the aural experience. Required of all first year music majors as a prerequisite to Music History 1 and 2.
An introduction to selected world musics from a contextual perspective which explores music as an integral part of both society and culture and its function in labor, ritual and celebration. Aspects of instrumental classification, spontaneity and improvisation, as well as elements of music as both organized sound and silence in all cultures will be considered. This includes timbre, melody, rhythm, harmony, form, and texture. Required of all first year music majors as a prerequisite to Music History 1 and 2.
Musical Practices I includes the basic study of musical elements, vocabularies, and concepts in Western musical traditions, supplemented with global perspectives. Students will develop critical inquiry skills to study how music is experienced throughout Western culture, broadening the student's understanding of different musical structures, diverse arenas of production, while exploring professional, creative outlets for this knowledge. At the same time common conventions of musical style will be examined which tie the Western tradition together regardless of when or where the music originated.
Musical Practices 2 builds upon the basic study of musical elements, vocabularies, and concepts established in Musical Practices 1, extending the exploration of these principles in more depth, with a primary focus on non-western musical traditions and cultural practices.
Students will listen to and learn to understand Western European Art music from the earliest times through the Middle Ages, Renaissance, Baroque, and 18th-century Classical era. We will examine significant composers, forms, and styles, and explore such things as the kinds of music people sang and played, the instruments they played, how music has been used in worship and in the theater, how the historical context influenced composers' procedures and decisions, how music from several hundred years ago has influenced music of today, and why music has been on of the most enduring forms of community and culture in Europe and America. Open to non-music majors only.
Studies sacred and secular musical forms from pre-Christianity to 1750.
Analyzes musical forms and styles from 1750 to present.
Pre-req: MUHI 1010 European Art Music, and MUHI 1020 Intro to Non Euro Musics, or MUHI 1040 Musical Practices 1 and MUHI 1050 Musical Practices 2 and MUHI 2610 Music History I.
An historical, cultural and contextual survey of diverse styles of concert and vernacular music in the United States from the colonial era to the present. Open to music and non-music majors.
An intensive study of the position of the American musical theater, this course examines contributions to musical thought, and traces the development of the musical style from its origins to the present through musical study and analysis, historical research, and critical interpretation.
An intense study of the history of jazz from its origins to the present, covering a wide selection of styles and schools of jazz in various ensemble configurations.
Traces the roots of American popular music from its origins and influences from the earliest European song forms to American folk songs, Gospel, Country, Rhythm and Blues, Jazz, and other popular forms up through current trends as related to the development of the music industry and other socio-musical influences of the commercial song from the 1500s to the present.
This course is designed to introduce students to the basic principles of ethnomusicology beginning with a survey of the historical development of ethnomusicological thought form the late 19th century to the present Fieldwork methodology will be examined in depth, and a final project incorporating interviews, field observation, and musical transcription will allow student to put theory into practice. Permission of Instructor.
This course surveys the emergent technologies and processes of sound recording from the late 19th century to the present, specifically focusing on the techniques and styles record producers and recording engineering utilize in shaping the conception of musical sound and performance for musicians and their audiences.
Pre-Req: ENGL.1020 College Writing II.
A study of music in sound cinema from the 1920s to the present. The course focuses on the expressive, formal, and semiotic function that film music serves, either as sound experienced by the characters, as another layer of commentary to be heard only by the viewer, and/or some mixture of the two. Composers to be studied include Max Steiner, Bernard Hermann, Jerry Goldsmith, John Williams, Danny Elfman, and others, as well as film scores that rely upon a range of musical styles, including classical, popular, and non-Western.
The singularly most important goal of the course will be to study how music functions in a given film, regardless of its musical style. In the process, ancillary ideas will emerge including discovering how music establishes psychological moods, guides emotions, and reveals aspects of the narrative structure of the film. By the end of the course, the student will have gained a greater understanding of both music and film and it is likely that students will never watch or listen another movie in quite the same way.
A study of the solo, chamber, symphonic and operatic literature from 1720-1827.
Individual work under the supervision of a member of the music history faculty. May be repeated with permission of the chairperson.
The emphasis is placed on such keyboard skills as the playing of several scale forms, basic chord progressions, harmonization of melodies, accompaniment patterns, basic solo literature, development of keyboard reading necessary to a working knowledge of the keyboard and basic improvisational concepts.
A study of more advanced chord progressions, ensemble keyboard playing, patriotic songs, more advanced accompaniment patterns and advanced solo literature and a continuation of the use of improvisational techniques.
Pre-Req: MUPF.1310 Intro To Keyboard 1.
This course teaches the basics of diction and the International Phonetic Alphabet, as utilized by professional singers. These principles are specifically applied to English, French, Italian and German.
Training in basic baton technique and related study for instrumental and choral conducting.
Pre-req: MUTH 1040 Aural Skills 2, or MUTH 1090 Musicianship & Analysis 2.
Continuation of 75.233 exploring more advanced choral and instrumental conducting techniques.
Pre-Req: MUPF.2330 Conducting 1.
This course is designed for both piano and non-piano majors. A discussion of concepts of form with special emphasis on working together with and being sensitive to other musicians will be emphasized. Accompaniments will consist of music for instrumental and vocal soloists and ensembles and will include simple harmonizations and improvisations based on melodies from folk, classical, jazz, and popular music. Techniques of adjustment and cooperation in performance will also be discussed.
A continuation of Piano Accompanying 1 utilizing more advanced music literature from the genres as well as a refining of the philosophies of sensitivity and working with other musicians.
Pre-Req: MUPF.2550 Piano Accomp 1.
A study of basic jazz structures, motives, chord progressions, scales, melodic analysis, use of some approach techniques, tensions and their application to improvisation. Includes in class performance by small instrumental and/or vocal groups.
Pre-req: MUTH 1080 Musicianship & Analysis I, MUTH 1090 Musicianship & Analysis 2, and MUTH 2080 Musicianship & Analysis 3.
A continuation of 75.361. Will emphasize the study and performance of more advanced levels of improvisation.
Pre-req: MUTH.1080 Musicianship & Analysis I, and MUTH.1090 Musicianship & Analysis 2, and MUTH.2080 Musicianship & Analysis 3, and MUPF.3610 Jazz Improvisation I.
The study and performance of selected works from the repertoire of each of the five primary areas of performance; keyboard, voice, woodwinds, strings, and brass/percussion. Emphasis will be placed on student and faculty performance, leading to detailed consideration of the relationship between the demands of the composer and the problems of the performer and the manner in which these concerns influence the musical and artistic judgments necessary to achieve a quality performance.
This course is directed toward the development and refinement of instrumental repertoire and pedagogy. The course will examine the application of musical content and learning sequences to the teaching of instrumental music to students at all levels. It will include the study of teaching methods and materials for use in private and group instruction. Observation of studio and class teaching and supervised teaching experience will also be included. This course is directed toward meeting the NASM undergraduate pedagogy component.
Course will introduce students to the basics of teaching singing. It will include an overview of the anatomy of the respiratory and vocal mechanism and their application to singing; the categorization of voice types with suggestions for repertoire for young solo singers; an overview of vocal exercises for various technical goals and the diagnosis of common vocal problems and how to treat them. The class will also cover the child and adolescent voice and include in-class supervised teaching.
The study of orchestral and band instruments relative to intonation. The development of conceptual awareness relative to the various characteristics of pitch, which are inherent in the design of the various instruments. Identification of problematic intonation and procedures to alleviate problems through performance.
The study and performance of selected works from the repertoire of each of the five primary areas of performance; keyboard, voice, woodwinds,strings, and brass/percussion. Emphasis will be placed on student and faculty performance, leading to detailed consideration of the relationship between the demands of the mposer and the problems of the performer and the manner in which these concerns influence the musical and artistic judgments necessary to achieve a quality performance.
Designed as a "master class" experience for students in each of the five primary areas of performance, keyboard, voice, woodwinds, strings, and brass/percussion, with a separate section for each area wherever possible. Class sessions will consist of student performance of selected literature followed by critical analysis from faculty and peers. Each section will be supervised by the appropriate area coordinator and will also involve invited guest performers selected from faculty, applied faculty and other noted artists.
Pre-req: MUPF 3940 or MUPF 4930 Performance Seminar I.
Permission of chairperson required.
This is a one semester course exploring the inventive ways today's musicians incorporate technology for creative, promotional, and education purposes in their careers. This course provides a practical and hands-on approach to notation software, MIDI sequencing and electronic instruments, audio and video applications, the computer as a performance instrument, and other web-based professional resources.
Examines how recording technology has changed music and the relationships of music and society. The course studies and evaluates the application of technology to making music, to music listening, to styles of music, and to music's roles in society, other art forms, and media. The evolving importance of technology in music over the past century is charted through the study of musical examples and through viewing how human values are reflected in this century's timely music. Studies will be based on assigned readings, lectures and discussions, examination of current and historically significant music recordings, motion pictures and media pieces for this artistry, their use of available technology, and their impact on human values and society.
The use of technology in music listening, performance, analysis, composition, recording and music study will be presented. The dimensions and applications of technology will be discussed as related to aesthetics, the musician's experiences, musical style, and the musical experience. Basic introduction to the technologies of audio recording. Course includes required reading, listening, session participation. Music Majors Only.
The theory and usage of audio-recording/reproduction components are explored at a basic level and supplemented by hands-on experience. The aesthetics of recording media and their influence on society are discussed in relation to the artistic and commercial functions of the media. Individual research on a subject of interest to the student is required.
Pre-Req: MATH 1310 Calculus I or MATH 1380 Calculus for Life Sciences, or Permission of Instructor/Coordinator or Chair.
An introductory course in the fundamentals of video technology and production; encompassing signal transmission, tape formats, transduction, optical characteristics of lenses and cameras, production equipment and procedures, and post-production equipment and techniques; hands-on experience via video and audio for video projects. Permission of Coordinator and Chair.
Pre-req: MUSR.3100 Introduction to Recording.
The recognition and identification of timbral modifications and spatial characteristics. Aural analysis of historically significant and current music recordings for recording techniques, musicalbalance, performance intensity, sound quality and imaging. Development of critical listening skills and sound evaluation techniques.
Pre-req: MUSR 3100 Intro to Recording and MUTH 2030 Aural Skills 3 or MUTH 2080 Musicianship & Analysis 3, and Co-req: MUSR 3900 Acoustics & Psychoacoust, and MUSR 4100 Recording Prod.
The physical attributes of sound and acoustic measurement; displacement, time, velocity, acceleration, force, energy, resonance, wave shapes and spectral energy distribution are examined for most instruments; acoustic properties of the ear and enclosed environments; acoustic measurements and instruments. The interrelationships and differences of physical acoustics and psychoacoustics are stressed.
Pre-Reqs: MUSR 3100 Intro to Recording, MATH 1320Calculus II, and PHYS 1010 Introductory Physics; Co-Req: MUSR 3600 Critical Listening
This course will explore how technology shaped, enhanced and defined the music of The Beatles. In doing so their music will also be studied for its musical materials, stylistic content, the sound qualities of recordings, cultural impacts, and extra-musical aspects, as well as the music and cultural ideas that influenced the music of The Beatles. Selected solo recordings and compositions of the artists will also be examined to trace the growth of ideas and materials with their roots in The Beatles' music.
Intermediate audio production. Planning and executing recording sessions which involve a variety of musical ensembles under diverse recording conditions; live-performance/concert recordings; multi-track recording, overdub, and remix procedures; application of informed musical judgment to the mixing process; and research in recording techniques. Laboratory required.
Pre-Req: MUSR 3100 Intro To Recording; Co-Reqs: MUSR 3600 Critical Listening, and MUSR 3900 Acoustics & Psychoacoust.
Advanced audio theory. An in-depth examination of the principles and operating specifications of the major components of the modern recording studio: mastering and multi-track recorders, mixing consoles, microphones, monitoring systems, and signal processing equipment. Recording projects and technical research. Laboratory required.
Pre-Req: MUSR.4100 Recording Production.
Sound synthesis equipment and techniques are studied and supplemented with sound synthesis studio laboratory work. The course will cover practices and principles of analog and digital sound synthesis and their historic origins, related audio equipment and applications, theories of sound samplers and sequencers, and an introduction to MIDI applications in sound synthesis and recording production.
Advanced sound synthesis techniques are studied and supplemented with sound synthesis studio laboratory work. The course will cover MIDI implementation in analog and digital sound synthesis, the historic origins of computer music and electro-acoustic music, live electronic music performance, audio equipment and applications of MIDI-based and functional devices and processors, advanced music production and sound synthesis via MIDI. Permission of Coordinator
Pre-req: MUSR.4200 Sound Synthesis I.
Applications of computers to audio production is emphasized in studies of computer generated and controlled sound sources and devices, algorithmic composition, computer music, digital signal processing, advanced MIDI applications and programming, and computer synchronization of audio and video. Laboratory work required. SRT majors and minors. Permission of Coordinator and Chair.
24-track recording. Session planning and preparation, tracking process; microphone techniques and applications; incorporating processing; planning the mix and sound stage; MIDI applications, rough mixdown. Recording project required.
Pre-Req: 78.411 Audio Theory
Advanced production techniques; tape machine calibration; automation and final mixdown; digital multitracking; SMPTE applications; premastering and mastering. Recording project required.
A detailed survey of the many career options of the audio-recording industry: position duties and responsibilities. Guest lecturers from diverse careers in the industry share their experiences, disciplines, and backgrounds. Permission of Coordinator and Chair.
This course is designed to introduce students to the theory and practice of audio for visual media including production and post-production sound. Students will study of the aesthetics and philosophies of sound design for visual media through the study of important films and television shows and through applied projects which include the planning and execution of production sound, dialog editing and ADR, the creation and design of sound effects, performance of Foley, sound effects editing, music editing, current and historic synchronization technologies, and re-recording
Pre-Reqs: MUSR 3500 Video Production, & MUSR 4110 Audio Theory.
Hands-on experience in repair and maintenance techniques. Common minor repairs and routine maintenance of recording equipment; test equipment and tools; power supplies, op-amps, and low-noise amplifiers; distortion; analog and digital hardware; and interface considerations. Permission of Coordinator and Chair
Pre-req: MUSR.4110 Audio Theory, and EECE.2140 Fundamentals of Sound Recording.
Practical experience in audio-recording under the supervision of a professional firm. At least twenty hours per week for fifteen weeks is spent working at an entry-level position for a firm involved in audio.
Advanced projects developed in consultation with faculty advisor. Typical projects include production of a complete record album, investigation of experimental recording techniques, and original research in recording technology. To be completed in place of MUSR.4930 by students not choosing an internship. Permission of Coordinator and Chair
Individual work under the supervision of a member of the SRT faculty on a topic or area of production approved by the instructor and the Coordinator of SRT. Permission of Coordinator and Chair
A study of the visual and aural symbolics of music and their application to the comprehension of the architectural, organizational, and aural elements of music literature.
An intensive study of the theoretical language of music. Stresses part writing in S.A.T.B. and basso continuo realization with a free instrumental part which utilizes free voice leading relative to the use of non-harmonic activity and the harmonic principles through first and second inversion triads. Instruments of the string section are covered, and appropriate listening assignments are given. Original composition in the style being studied is required.
Serves as a continuation of the practices of 71.101 relative to part writing (both vocal and instrumental) including secondary triads, the Neapolitan sixth, modal interchange, dominant sevenths in inversion and root position, modulation, and secondary dominants. Instrumentation covers the woodwind section, and original composition in the style being covered is required.
Pre-Req: 71.101 Music Theory 1.
Development of basic sight singing, listening, and dictation skills as they relate to music theory and analysis. Activities include singing (using moveable do/tonic do solmization), listening, and dictation (melodic, harmonic and rhythmic) of diatonic music. Music majors only. Coreq. 710.101
Development of basic sight singing, listening and dictation skills as they relate to music theory and analysis. Activities include singing (using moveable do/tonic do solmization), listening, and dictation (melodic, harmonic and rhythmic) of more diatonic music. Music majors only. Prerequisite: 71.101 and 71.103. Coreq. 71.102
Pre-req: MUTH 1010 Music Theory I, and MUTH 1030 Aural Skills 1.
A vocal ensemble consisting of all first-year music students, the Choir aims to build a community among those students by having them all share a common experience. Whether they have an extensive musical background or are novice musicians with little or no formal training, the First-Year Choir is intended to help students overcome the natural apprehensions that are associated with the first year of college. Additionally, the Choir will encourage ALL students to be comfortable singing in front of their peers and instructors, thereby making their experience in Aural Skills less daunting.
An intensive, critical and integrated study of musical concepts. Through applied experiences composing, improvising, writing, performing, listening, and analyzing, students will explore and develop competencies in hearing, understanding and applying concepts of musical sound, timbre, and texture; time, shape, and form; pulse; meter; rhythmic subdivision; melodic contour; plainchant; pentatonic melodies; and interlocking melodic systems.
An intensive, critical and integrated study of intermediate macro, meso, and micro concepts of music and musicianship. Through applied experiences composing, improvising, writing, performing, listening and analyzing, students will explore and develop competencies in hearing, understanding and applying concepts of compound meters; rhythmic subdivision (expanded); major and minor scales; counterpoint; triadic harmony; phrases and cadences; and song forms.
Pre-req: MUTH 1080 Musicianship & Analysis I, and Co-req: MUTH 1200 Musicianship & Analysis Keyboard Lab.
This beginning music theory course provides an introduction to the basics of sound: reading music in bass and treble clefs; diatonic and chromatic notes; note and rest values; rhythm, meter, and time signatures; intervals; modes and scales; key signatures; and triads. Non-majors only.
Basic Music Theory 2 builds upon the music theory concepts and skills developed in Basic Music Theory (71.110). This class will include an introduction to the structure of tonality; diatonic chords in keys; counterpoint; chord inversion; figured bass; voice-leading in four voices; seventh chords; phrases and cadences; embellishing tones; principles of harmonic progression, and analysis. Non-Music Majors only.
Pre-req: MUTH.1100 Basic Music Theory, or Permission of the Instructor.
This lab will provide basic keyboard skills required to successfully complete the Musicianship and Analysis sequence including understanding the piano keyboard, notational reading skills in both treble and bass clefs, fingering techniques, left and right hand coordination, and approaches to chord voicings and the execution of melodic improvisation.
Pre-req: MUTH 1080 Musicianship and Analysis I, and Co-req: MUTH 1090 Musicianship and Analysis 2.
A continuation of practices of Music Theory II relative to part writing both vocal and instrumental including remote modulation and satellite keys, the diminished seventh, augmented sixth, ninth, eleventh, and thirteenth extensions, sequential secondary dominants and secondary sevenths. Instrumentation covers the brass section; original work in the style being covered and in various formal configuration is required.
Pre-Req: 71.102 Music Theory 2.
A study of twentieth century music theory via a compositional approach relative to tertial, quartal, and secundal vertical sonorities, and linear combinations featuring modal and synthetic scale resources as well as serial and preserial atonality.
Pre-Req: 71.201 Music Theory 3.
Presents an intensive application of requisite skills to chromatic and non-diatonic music, changing and composite meters, displaced accents, cross rhythms, and a vertical approach to reading often necessary in the study of scores. Advanced tonal as well as tonal literature is considered. Harmonic dictation continues to follow the sequence and progress of 71.201.
Pre-Req: 71.104 Aural Skills 2.
A concentration on the techniques employed in solving the notation and musical problems of the music of the 20th century. The consideration include synthetic and nonwestern scales, pitch sets and twelve-tone serialism.
Pre-Reguisite: 71.203 Aural Skills 3.
Supplemental course to aural Skills 3, focusing on the development of sight singing, listening and musical dictation skills as they relate to music theory and analysis. Activities include singing (using movable "do"/tonic "do" solmization), listening and dictation (melodic, harmonic and rhythmic) of diatonic and chromatic music. Specifically, students will get extra practice in:
a) performing (while conducting), identifying and notating more complex rhythms in simple and compound meter;
b) singing, identifying, and notating diatonic and chromatic major-and minor-key m9lodies, in treble bass, alto and tenor clef, including arpeggiations of all diatonic triads and sevenths, and secondary dominants;
c) identifying and notating chord progressions in major and minor keys consisting of all diatonic triads and dominant sevenths, non-dominant seventh chords, and secondary dominants.
Co-Req: 71.203 Aural Skills 3; Pre-Req: 'D' or lower in 71. 203 Aural Skills 3, or a 'D' in 71.104 Aural Skills 2; Sophomore level.
An intensive, critical, and integrated study of intermediate macro, meso, and micro concepts of music and musicianship. Through applied experiences composing, improvising, writing, performing (vocally, on keyboard and on the students primary instrument), listening and analyzing, students will explore and develop competencies in hearing, understanding and applying concepts of pitch modes; syncopation; mixed meters; extended harmony; expanded song forms, and multi-timbrel transcription.
An intensive, critical, and integrated study of advanced macro, meso, and micro concepts of music and musicianship. Through applied experiences composing, improvising, writing, performing (vocally, on keyboard and on the students primary instrument), listening and analyzing, students will explore and develop competencies in hearing, understanding and applying concepts of multi-timbrel transcription; chromaticism; microtonal intonation; polyrythm; extended modulations; altered chords and extensions; polytonality; and atonality.
Pre-req: 71.208 Musicianship and Analysis 3.
This course is designed to facilitate a greater range of creative expression for aspiring songwriters by analyzing the musical and lyric components of song composition, posing songwriting problems to be solved, and developing an identifiable musical style.
Pre-req: MUTH.2090 Musicianship and Analysis 4, and Co-req: MUEN.3450 Songwriting Ensemble.
Analysis and practical application of techniques of scoring for vocal and instrumental combinations in varied configurations. Scoring projects for in-class performance, effective arranging of music in a variety of styles, and problem solving for the arranger will be included.
Individual work under the supervision of a member of the music theory faculty on a wide variety of topics approved by the instructor and the theory faculty. Permission of chairperson required.