Music Course Descriptions: Undergraduate

Last updated Aug. 25, 2008

Composition MCO 1000–4999
Performance, Ensemble MPE 1000–4999
Music History, Theory, and Musicianship MTH 1000–4999
Additional Studies MUS 1000–4999

Composition: Undergraduate

Models I, II, III, IV, V, VI
MCO 1010, 1020, 2010, 2020, 3020, 3030
3 credits (per semester)
I, III, V: Fall; II, IV, VI: Spring
The core music theory curriculum for jazz studies, studio composition, and studio production students, consisting of six sequential courses (I and II only for jazz studies; I–IV only for studio production). Studies in musical structure and syntax. An integrated presentation of melody, rhythm, harmony, counterpoint, and timbre. This course begins to explain the universal principles of proportion and beauty in all music.

1. Music grammar, fundamental harmony, multiple musical traditions
2. Harmony, species counterpoint, phrase structures
3. Modulation, chromatic harmony, jazz harmony and analysis
4. Continued jazz harmony and analysis/modality
5. Pop music, harmonic and rhythmic analysis
6. Post-tonality, impressionism to minimalism

Studio Composition I and II
MCO 1310 and 1320 / 2 credits (per semester)
I: Fall; II: Spring
An introduction to the modern multitrack recording studio and its intellectual and conceptual effects on composition and orchestration. All students are expected to compose, arrange, and produce several simple group projects. In addition to the weekly lecture, lab sessions are assigned at students’ convenience. Limited enrollment. Open to students in all disciplines by permission of instructor.
Prerequisite (for MCO 1320): MCO 1310

Studio Composition Seminar
MCO 1410 / 1 credit / Every semester
Group discussions and presentations of student works, together with analysis of music by a range of established composers, encompassing many different styles. Live performances and guest artists enhance class sessions. Required for studio composition majors.

Jazz Harmony I and II
MCO 2015 and 2025 / 2 credits (per semester)
I: Fall; II: Spring
Examines the various aspects of jazz harmony and improvisation. Topics include the cycle of fifths; secondary and substitute dominants; key of the moment; cadences, modal interchange, and melodic embellishment; and an in-depth study of improvisational devices, linking scales, advanced reharmonization, and tertian relationships. Limited to jazz studies majors.

MIDI Composition I
MCO 2310 / 2 credits / Fall
Introductory study of computer-assisted MIDI composition. Basic sound synthesis: digital oscillators, multitimbral synthesizers. Quantization, event lists, graphic displays, controllers, and data selection and manipulation. Completion of several simple compositions. Open to students in all disciplines with permission of instructor.
Prerequisite: One year as a music major or permission of instructor

MIDI Composition II
MCO 2320 / 2 credits / Spring
More sophisticated use of software: timbral doubling, transposition, software synthesis, sequence capture, synchronization, abstraction, and random procedures.
Prerequisite: MCO 2310 or permission of instructor

Composition Seminar
MCO 3010 / 1 credit / Every semester
Group discussions and presentations of student works, together with analysis of music by a range of established composers, encompassing many different styles. Live performances and guest artists enhance class sessions.

Studio Production I
MCO 3330 / 2 credits / Fall
Recording and production technology, with emphasis on digital multitracking. Complex recording setups, mike placements, patch bay configurations, and real-time production constraints.
Prerequisite: MCO 1320

Studio Production II
MCO 3340 / 2 credits / Spring
Continued study of miking, gain structure, digital-signal processing chains, and production strategies. Troubleshooting and meticulous attention to production values are stressed. Culminates in a series of complex over-dubbed projects, as well as numerous recital recording projects.
Prerequisite: MCO 3330 or permission of instructor

Scoring on Assignment
MCO 3350 / 2 credits / Spring
Producers of film, TV, advertising, and theatre request a wide range of musical moods and feels. In this course, composers and arrangers are given deadline assignments of writing to a client’s specifications within typical industry parameters. Various styles and techniques used by commercial composers (e.g., thematic writing, underscore, and ostinati devices) are covered. Client relations are emphasized, as is the concept of perfection when writing on demand.
Prerequisite: Permission of instructor
Recommended: Some notation or theoretical ability

Production Workshop I and II
MCO 3400 and 3410 / 2 credits (per semester)
I: Fall; II: Spring
A project-driven course designed to stretch the student’s sense of creativity. Each student is assigned a multimedia project of his or her own design in conjunction with the instructor. Regularly scheduled meetings with the instructor insure that the work is being done on time and according plan.

Melody Writing
MCO 3415 / 2 credits / Alternate years (Fall)
A practical study of the craft of writing contemporary melody. Analytical and creative focus on effective melodic practice, plus musical rhyme, dramatic pitch curve, repetition and excursion, bridge, prechorus and chorus writing, melodic psychology and hooks. Studies may include Franz Schubert, Richard Rogers, Cole Porter, Billie Holiday, Carole King, Bob Dylan, Joni Mitchell, Stevie Wonder, Randy Newman, and others. Prior musical accomplishment as a melodist and ability to read notation are required. Open to students in other disciplines with permission of instructor.

Lyric Writing
MCO 3420 / 2 credits / Spring
A practical study of the craft of writing contemporary lyrics. Analytical and creative focus on effective musical structures, plus rhyme forms and schemes, line and unit densities, text and subtexts. Studies may include Langston Hughes, Chuck Berry, Bob Dylan, Otis Redding, Joni Mitchell, Patti Smith, Chuck D, Tupac Shakur, and others. Prior musical accomplishment as a lyricist and a desire to collaborate are required. Offered as SOA 3500 for students in other disciplines.

Film Scoring I
MCO 3500 / 2 credits / Fall
Writing/producing music for motion pictures. Action/dialogue underscoring, multiple cues, synchronization, editing, and critical budgets of time, equipment, and labor.
Prerequisite: MCO 1320 or MCO 2320 or permission of instructor

Film Scoring II
MCO 3510 / 2 credits / Spring
Practical exercises in film scoring, as well as theatrical underscoring, documentary scoring, jingles, cameos, infomercials, and music videos. Collaborative work with Purchase College film students is encouraged. Extensive writing and production required.
Prerequisite: MCO 3500

Studio Arranging I
MCO 3550 / 2 credits / Fall
Designed to provide students with the knowledge needed to transform a song from its simplest form to a full-fledged, multidimensional arrangement, ranging from an entire symphony orchestra to exotic percussion and experimental studio effects.
Prerequisite: MCO 2020 and MTH 2425

Studio Arranging II
MCO 3555 / 2 credits / Spring
A continuation of MCO 3550, with a more in-depth approach to song structure, instrumentation/orchestration, lead sheet writing, the skill of transcription, and the harmonic/melodic/rhythmic relationship. Formulating an album concept, genre-specific characteristics, and arranging preexisting material are also discussed in detail.
Prerequisite: MCO 3550

Contracts, Copyrights, and Publishing
MCO 3712 / 2 credits / Fall
A course in the business of music that focuses on essential legal terms, language, and concepts underlying standard recording artist agreements, U.S. copyright law, and standard music publishing contracts. Sampling legislation, synchronization, and mechanical licenses are also examined in detail. Pending schedule availability, noted music industry professionals present guest lectures on relevant topics. Open to students in all disciplines with permission of instructor.

Touring, Promotion, and Distribution
MCO 3722 / 2 credits / Spring
Addresses the complexities of booking a tour, artist promotion, and current trends in music distribution, including do-it-yourself (DIY) Web-based distribution. Ethical issues relating to controversial subject matter and images, derogatory lyrics, social politics, and sexual content and its effect on the marketplace are also discussed. Open to students in all disciplines with permission of instructor.

Composition Master Class
MCO 4120 / 3 credits / Every semester
Weekly study in small groups with master composers. Melody, harmony, rhythm, timbre, form, and lyrics are studied within a variety of styles, aesthetics, and technologies. Students present their work at each class.

Production Master Class
MCO 4125 / 3 credits / Every semester
Weekly study in groups of three to five with master producers. Recording techniques and technologies, as well as the psychological, logistical, and entrepreneurial crafts of a producer, are studied. Students present their work at each class.

Digital Audio I
MCO 4350 / 1.5 credits / Fall
Sampling theory, error correction, digital filtering. DAT, ADAT, mini-disc, CD, and CD-ROM protocols. Simple multisample playback software. Hardware sampling. Simple digital-audio tracking and editing.
Prerequisite: MCO 1320 or MCO 2320 or permission of instructor

Digital Audio II
MCO 4360 / 1.5 credits / Spring
Digital stereo and multitrack recording. Intensive studies in software-based editing. Region manipulation, playlisting, plug-in processing, crossfades, normalization, and digital mastering. This course is essential for licensing in the digital editing studios.
Prerequisite: MCO 4350

Creative Production Techniques I and II
MCO 4711 and 4721 / 1.5 credits (per semester)
I: Fall; II: Spring
Focuses on unique scenarios and non-mainstream techniques in recording and production. Assignments include recording live to mono analog tape; instrument construction, using scrap materials; and composition and recording. Study of ethnic music, including reggae and blues.
Prerequisite: Permission of instructor

Performance, Ensemble: Undergraduate

Freshman Jury
MPE 0200, 0201, 0202, 0203
0 credit / Spring
An evaluation of each music major’s progress after one year of study in the Conservatory. Students perform for a faculty jury, and their abilities in their area of concentration are critically evaluated. Successful completion of the freshman jury is required to continue in the program. Students register as follows: MPE 0201, jazz studies; MPE 0202, studio composition; MPE 0203, studio production; MPE 0200, all other juries.

Sophomore Jury
MPE 0300, 0301, 0302, 0303
0 credit / Spring
An evaluation of each music major’s progress after two years of study in the Conservatory. Students perform for a faculty jury, and their abilities in their area of concentration are critically evaluated. Successful completion of the sophomore jury is required to continue in the program. Students register as follows: MPE 0301, jazz studies; MPE 0302, studio composition; MPE 0303, studio production; MPE 0300, all other juries.

Midpoint Assessment
MPE 0310, 0311, 0312, 0313, 0314
0 credit / Spring
A skills-related exam/jury scheduled concurrently with the second semester of second-year theory. Students are asked to demonstrate proficiency in theory or models, solfège or ear training, secondary keyboard (non-pianists only), and music history. Failure to do so results in the postponement of the junior recital/production. Students register as follows: MPE 0311, jazz studies; MPE 0312, studio composition; MPE 0313, studio production; MPE 0314, vocal performance; MPE 0310, all other music majors. Grading is on a P/NC basis. Required for all music majors.
Prerequisite: MCO 2010, MTH 2050, or MTH 2435 and permission of faculty advisor or dean
Corequisite: MCO 2020, MTH 3050, or MTH 2445

Keyboard Studies I, II, III, IV
MPE 1010, 1020, 2010, 2020
1 credit (per semester)
I, III: Fall; II, IV: Spring
Designed to promote facility at the keyboard, this four-semester sequence of lessons for non-keyboard students culminates in a proficiency examination normally taken at the end of the sophomore year. Different sections of this course sequence are designed specifically for classical performance (excluding piano), jazz studies, and studio composition majors.

Chamber Music Class
MPE 1110 / 2 credits / Every semester
The study and performance of works from the chamber music repertoire and/or the sonata literature for piano and instruments. Coaching sessions (up to one and a half hours per week) culminate in performances.
Prerequisite: Audition

Brass Chamber Music
MPE 1112 / 2 credits / Every semester
Coached by members of the brass faculty, this ensemble class focuses on group intonation, phrasing, articulation, and blend. Literature is selected from all styles and eras of music, and composition for the ensemble is also encouraged. Rehearses weekly for one and a half hours.
Corequisite: MPE 1221

Contemporary Ensemble
MPE 1160 / 2 credits / Every semester
Presents the opportunity to study and perform 20th-century works for diverse instruments, in all styles. Open to all undergraduate music majors.
Prerequisite: Permission of instructor

Camerata
MPE 1170 / 2 credits / Every semester
Interpretation of music of the 17th and 18th centuries from the perspective of historically informed performance. Instructors teach basic principles of interpretation that are evident from early performance manuals, then encourage students to actively engage these principles by forming personal interpretations around them. Students are encouraged to form creative, original approaches to the repertoire, particularly when the historical record may be incomplete, inchoate, or simplistic.

Symphony Orchestra
MPE 1201 / 2 credits / Every semester
Intense preparation of works, mostly from the standard repertoire, for performance. Study of characteristic styles, performance practice, and acquisition of large ensemble skills and professional etiquette. Required for new orchestral performance students as of Fall 2006. Open to students in all disciplines with permission of instructor.

Woodwind Performance Class
MPE 1210 / 1 credit / Every semester
This course is devoted to the study of orchestral excerpts and large-scale chamber music. Instrumental techniques, tuning, and ensemble balance are given careful attention.
Corequisite: MPE 1211

Woodwind Instrumental Lab
MPE 1211 / .5 credit / Every semester
Companion performance lab for participants in MPE 1210.
Corequisite: MPE 1210

Brass Performance and Ensemble
MPE 1220 / 1 credit / Every semester
The main instrumental ensemble (20–30 players) in the brass program. Conducted by members of the brass faculty, this ensemble performs repertoire from the 16th century to the present. It also performs music from the British “brass band” repertoire, in which students are required to play traditional brass band instruments. Rehearses weekly for one and a half hours. Open to students in all disciplines with permission of instructor.

Brass Instrumental Lab
MPE 1221 / .5 credit / Every semester
Companion performance lab for participants in MPE 1112.
Corequisite: MPE 1112

Percussion Performance Class
MPE 1230 / 1 credit / Every semester
A forum for percussionists to discuss and examine the many facets of percussion performance. The study of the orchestral repertoire for timpani and percussion is the primary focus.

Percussion Ensemble
MPE 1231 / 1 credit / Every semester
Study and performance of the percussion ensemble repertoire. Students have the opportunity to perform a range of parts, from basic to virtuosic, in all areas of percussion: timpani, mallets, and multiple percussion.

Hand Drumming Workshop
MPE 1232 / 1 credit / Every semester
An exploration of the ancient musical tradition of hand drumming found in many cultures. Hand drumming techniques from Africa, the Caribbean, the Americas, and Asia are learned and practiced in an ensemble setting to energize, build unity, and heighten creativity. Students gain experience with djembe, guiro, conga, shakers, and clavés, as well as other percussive and rhythmic instruments. No prior musical experience is required. Offered as SOA 1500 for students in other disciplines.

String Performance Class
MPE 1240 / 1 credit / Every semester
A weekly gathering of all violinists, violists, violoncellists, and bass students, providing a forum for string players to perform for each other and to discuss and examine the many facets of string playing. Repertoire may include solo, chamber, and orchestral. Audition techniques, performance traditions, and instrument maintenance may also be covered.

Harpsichord/Organ Repertoire Class
MPE 1260 / 1 credit / Every semester
Covers the full range of basic repertoire for the harpsichord and organ. Students perform and actively participate in the analytical and critical process for pedagogical purposes.

Viola for Violinists
MPE 1270 / 2 credits / Every semester
An introduction to the viola for violinists. Students gain proficiency in the alto clef, familiarity with sound production, and techniques of the bow and left hand as considered from a different perspective on the viola. Repertoire is individualized for each student.
Prerequisite: Permission of instructor

JST crosslisting added Fall 2008 (8/25/08):
Klezmer Ensemble
MPE 1360 / 2 credits / Fall
The study and performance of traditional and contemporary repertoire from the Eastern European Jewish music tradition known as klezmer. Students develop improvisational skills using the traditional ornaments and modal melodic language. They also learn the klezmer approach to ensemble playing, which combines unison playing, call and response, and improvised solos. This course culminates in a performance as final project. Open to students in other disciplines. Also offered as JST 1360.
Prerequisite: Permission of instructor

Italian Art Song Literature I and II
MPE 1370 and 1375 / 1.5 credits (per semester)
I: Fall; II: Spring
A survey course of Italian art songs from the 16th century to modern times; part of the core curriculum for classical voice majors. Presented chronologically, the songs explore the repertoire that forms the core of each linguistic style and historical period. Students learn and perform one song every week in a master-class setting. Integrated with MPE 1380 and MPE 1390.

Italian Diction I and II
MPE 1380 and 1390 / 1 credit (per semester)
I: Fall; II: Spring
An exploration of the principles of Italian diction. The international phonetic alphabet is employed to indicate correct pronunciation. Vigorous application of these principles to the repertoire studied in MPE 1370 and 1375.

Guitar Performance Class
MPE 1400 / 2 credits / Every semester
Covers a full range of solo repertoire and performance. Students actively participate in the analytic and critical process for pedagogical purposes.

Credits changed from 1.5 to 2, effective Fall 2008 (7/21/08):
Piano Performance Class
MPE 1480 / 2 credits / Every semester
Covers the full range of solo repertoire for piano. Students perform and actively participate in the analytical and critical process for pedagogical purposes.
Prerequisite: MPE 0300

Jazz Orchestra
MPE 1550 / 2 credits / Every semester
The Jazz Orchestra is a 17-piece big band that performs jazz from every era. From staples like Ellington and Basie to more modern works by today’s leading composers and arrangers, this orchestra swings and is always a pleasure to listen to. Limited to jazz studies majors.
Prerequisite: Audition

Latin Jazz Orchestra
MPE 1600 / 2 credits / Every semester
Focuses on the music of the Machito Orchestra, Tito Puente, Chico O’Farrill, and Dizzy Gillespie, among others. The conversion of standard jazz repertoire to what is currently known as Latin jazz is emphasized through an in-depth study of clavé (the rhythmic pulse found in Afro-Caribbean music) and the variety of rhythms incorporated in this genre. Orchestra members are encouraged to contribute original arrangements.
Prerequisite: Audition

Jazz Combos
MPE 1700 / 2 credits / Every semester
These combos are thematically based and speak directly to the firsthand performing experiences of faculty mentors. Focusing on repertoire derived from the master composer/bandleaders from all eras of jazz, elements of group interaction, group dynamic, improvisation, arranging, and stylistic interpretation are integrated into a professional ensemble experience. Limited to jazz studies majors.

Reinstated Fall 2008 (7/28/08):
Purchase Wind Ensemble
MPE 1800 / 2 credits / Every semester
An ensemble comprised of wind, brass, and percussion instrumentalists. Repertoire is chosen from the vast spectrum of literature written and transcribed for concert band setting. The ensemble engages in rigorous preparation that culminates in an end-of-semester concert performance. Membership is by audition for Conservatory of Music students as well as area music teachers and professionals at the invitation of the instructor.
Prerequisite: Permission of instructor

Sight Reading Workshop
MPE 1850 / 1 credit / Every semester
An exploration of the literature for piano-four hands (duets and two pianos) with the objective of developing skill in sight reading, leading to a performance of material read at sight.
Prerequisite: MPE 0300

Movement Styles
MPE 2230 / 1 credit / Every semester
A course for the singing performer on how to move within the context of different historical periods. It explores the reason for each movement style by offering training in balance, coordination, flexibility, and strength.

Stage Techniques for Singers
MPE 2260 / 2 credits / Every semester
A performance class designed to develop the language of the stage and its various applications, using pantomime, dance, music, text, character analysis, dramatic readings, meditations, etc. as tools to become comfortable on the stage.

German Art Song Literature I and II
MPE 2370 and 2375 / 1.5 credits (per semester)
I: Fall; II: Spring
A survey course of German art songs; part of the core curriculum for voice majors. Presented chronologically, the songs explore the repertoire that forms the core of each linguistic style and historical period. Students learn and perform one song every week in a master-class setting. Emphasis is on the development of musical skills necessary for the appropriate interpretation of each style. Integrated with MPE 2380 and 2390.

German Diction I and II
MPE 2380 and 2390 / 1 credit (per semester)
I: Fall; II: Spring
An exploration of the principles of German diction. The international phonetic alphabet is employed to indicate correct pronunciation. Vigorous application of these principles to the repertoire studied in MPE 2370 and 2375.

Keyboard Literature I and II
MPE 2550 and 2560 / 2 credits (per semester)
I: Fall; II: Spring
A historical and practical survey of keyboard music from the pre-Renaissance through the Classical Era. Assignments involve the preparation and in-class performance of works from these periods and exploration of lesser-known literature. Discussions and projects relate to the history and performance practice of the period.
Corequisite: MTH 2510 and 2520

Keyboard Literature III and IV
MPE 2570 and 2580 / 2 credits (per semester)
III: Fall; IV: Spring
A historical and practical survey of keyboard music from the 19th century to the present. Assignments involve the preparation and in-class performance of works from these periods and exploration of lesser-known literature. Discussions and projects relate to the history and performance practice of the period.

Collaborative Piano
MPE 2610 / 1.5 credits / Every semester
Study of the art of accompanying singers and instrumentalists. Members of the class perform regularly.

Improvisation for Pianists
MPE 2620 / 1.5 credits / Alternate years
A practical exploration of the art of improvisation for the classical pianist. Students develop improvisatory techniques using harmonic structures, varied musical textures, rhythmic nuance, and spontaneous counterpoint. This guided approach builds on the belief that accomplished improvisation is a practiced skill. It embraces the historical practice of improvisation as part of performances by composers like Mozart, Beethoven, and Liszt.
Prerequisite: Permission of instructor

Opera Coaching
MPE 3260 / .5 credit / Every semester
Private weekly music coaching (for undergraduates, in the junior and senior years) that support the student’s development (technical and artistic) and presentation (linguistic, stylistic, musical, and dramatic). Prepares the student for performance situations throughout the department. The goal is to enable the student to function as an independent professional upon completion of the program.

Opera Workshop
MPE 3350 / 2 credits / Every semester
In a performance lab setting, students prepare and perform in a concert of staged scenes with piano or instrumental ensemble; and/or participate in at least one fully staged opera, given in its original language, with orchestra, sets, and costumes. This course further develops and refines the musical and dramatic skills acquired in previous courses.

Opera Workshop Lab
MPE 3355 / 1 credit / Spring
A practical application of opera rehearsal techniques as studied in MPE 3350.
Corequisite: MPE 3350

French Art Song Literature I and II
MPE 3370 and 3375 / 1.5 credits (per semester)
I: Fall; II: Spring
A survey course of French art songs; part of the core curriculum for classical voice majors. Presented chronologically, the songs explore the repertoire that forms the core of each linguistic style and historical period. Students learn and perform one song every week in a master-class setting. Emphasis is on the development of musical skills necessary for the appropriate interpretation of each style. Integrated with MPE 3380 and 3390.

French Diction I and II
MPE 3380 and 3390 / 1 credit (per semester)
I: Fall; II: Spring
An exploration of the principles of French diction. The international phonetic alphabet is employed to indicate correct pronunciation. Vigorous application of these principles to the repertoire studied in MPE 3370 and 3375.

Conducting Strategies
MPE 3510 / 2 credits / Fall
A seminar that explores how conductors approach musical challenges. Studies and assignments incorporate score analysis, orchestral arranging, and conducting techniques. Students conduct short works that they have arranged or composed for small ensembles formed in the class. Limited to instrumental or vocal performance majors.

Orchestral Excerpts
MPE 4000 / 1 credit / Spring
An opportunity for instrumentalists to become familiar with challenging solo material from the standard orchestral repertoire, enhancing their ability to succeed at auditions.

Junior Recital
(jazz: 45 minutes; strings: minimum 30 minutes; all other junior recitals: 30 minutes)
MPE 3991, 3992, 3993 / 1 credit / Every semester
Senior Recital (60 minutes)
MPE 4991, 4992, 4993 / 1 credit / Every semester
A recital of repertoire or original compositions. While faculty and private teachers work closely with students in its preparation, the recital largely represents an independent effort demonstrating the student’s mastery of a range of literature, a variety of styles and techniques, and the ability to design and execute a substantial program. String players must include a substantial work (from the mid-20th century through the contemporary era) on either their junior or senior recital. Students register as follows: MPE 3992 and 4992, jazz studies recitals; MPE 3993 and 4993, studio composition recitals; MPE 3991 and 4991, all other junior/senior recitals.
Prerequisite: Junior: MPE 0300, 0301, or 0302 (sophomore jury); senior: MPE 3991, 3992, or 3993 (junior recital)

Junior Production (30 minutes)
MPE 3995 / 1 credit / Every semester
Senior Production (60 minutes)
MPE 4950 / 1 credit / Every semester
A CD produced and engineered by each student that demonstrates his or her skills and musicality as a recording engineer and record producer. A 30-minute CD is required for MPE 3995; a 60-minute CD is required for MPE 4950. Material should be newly recorded, not a compilation of early material. MPE 3995 and 4950 are the equivalents of the junior and senior recitals for studio production majors.
Prerequisite: Junior: MPE 0303; senior: MPE 3995

Music History, Theory, and Musicianship: Undergraduate

Music Theory I, II, III, IV, V
MTH 1010, 1020, 2050, 3050, 4050
2 credits (per semester)
I, III, V: Fall; II, IV: Spring
The core music theory curriculum for classical music students (five sequential semesters). Designed to provide a thorough background in musical structure, the course material is an integrated presentation of concepts and disciplines, including fundamentals, species counterpoint, and traditional harmony. Other important topics are rhythmic organization, analysis and composition of melodies, phrase structure, and harmonic analysis of excerpts from the standard repertoire.
Corequisite: MTH 1410, 1420, 2410, 2420, 3410, and MPE 1010

Solfège I, II, III, IV, V, VI
MTH 1410, 1420, 2410, 2420, 3410, 3420
1.5 credits (per semester)
I, III, V: Fall; II, IV, VI: Spring
Exercises in sight singing and ear training; modal, tonal, chromatic, and atonal melodies in seven clefs; rhythmic exercises to three voices; and melodic, rhythmic, and chordal dictation. Six sequential semesters required.
Corequisite: MTH 1010, 1020, 2050, 3050, 4050, and MPE 1010

Studio Ear Training I, II, III, IV
MTH 1415, 1425, 2415, 2425
1.5 credits (per semester)
I, III: Fall; II, IV: Spring
Topics include hearing chord progressions, from simple to complex; singing and analysis of pop, jazz, rock, and symphonic compositions; and rhythmic dictation and playing by ear. More advanced topics include transcribing bass lines and melodies, African rhythm, and simple improvisation.

Jazz Ear Training I, II, III, IV
MTH 1430, 1440, 2430, 2440
1.5 credits (per semester)
I, III: Fall; II, IV: Spring
Development of the ear specific to the jazz vernacular, focusing on melodic, rhythmic, and harmonic models. The methodology presented in each class is applied in ear training sessions with class partners. Dictation and singing are used to develop aural skills. Students learn to hear and transcribe contextual examples of jazz and to respond accurately while participating in performance settings.

Vocal Ear Training I, II, III, IV
MTH 1436, 1446, 2436, 2446
1.5 credits (per semester)
I, III: Fall; II, IV: Spring
An extensive exploration of the elements of sight singing, rhythmic study, and solfège, with progressive practical application throughout four semesters of study.

Vocal Keyboard Skills I, II, III, IV
MTH 1437, 1447, 2437, 2447
1 credit (per semester)
I, III: Fall; II, IV: Spring
Establishes a familiarity with the keyboard and a thorough knowledge of essential skills to empower students in their pursuit of independent repertoire study.

World Music and Jazz Traditions
MTH 2230 / 2 credits / Fall
An overview of world music and an introduction to the indigenous American art form of jazz. Students explore music from many cultures, including Africa, the Caribbean, India, China, Japan, Australia, Indonesia, the Middle East, and Latin America. The course also surveys traditional jazz styles and their roots, including the blues, Dixieland, swing, and bebop. These varied musical traditions are presented within both their unique cultural contexts and a modern global context. Offered as SOA 2580 for students in other disciplines.

Survey of Music History I and II
MTH 2510 and 2520 / 3 credits (per semester)
I: Fall; II: Spring
Traces the history of Western concert music, providing an overview and foundation. The course begins with a focus on world music, placing Western concert music in the greater context of its relationship to other cultures. The musical cultures of India and the Arabic countries of North Africa are examined for their impact on Western concepts. MTH 2510 and 2520 may be taken in either order.
Corequisite (for classical students): MTH 2050 and 3050

Orchestration I
MTH 3070 / 2 credits / Fall
A practical introductory study of idiomatic writing for traditional instruments. Instrumental characteristics, timbral balance, dynamics, articulation, and texture. Scoring of fragments of works for ensembles of two to 20 instruments.
Prerequisite: MTH 3050 or MCO 2020 or permission of instructor

Orchestration II
MTH 3080 / 2 credits / Spring
A continuation of MTH 3070. Scoring for complex traditional ensembles, including string orchestra, winds, full percussion, symphony, operatic, film, and theatre orchestras. Score analysis from Monteverdi to Stockhausen.
Prerequisite: MTH 3050 or MCO 2020 or permission of instructor

Electroacoustic Music I
MTH 3180 / 2 credits / Fall
A historical overview of electroacoustic music, beginning in the late 1940s with the devotees of musique concrète, recorded natural sounds, and synthesized tone construction. Students learn about the gradual evolution of technology and composition and its impact on many music traditions and trends. Open to students in all disciplines with permission of instructor.

Electroacoustic Music II
MTH 3190 / 2 credits / Spring
An overview of current creative trends in electroacoustic music. Contemporary digital music systems offer unprecedented dynamic control over timbre. This course reviews aspects of musical acoustics and psychoacoustics and explores electroacoustic simulation through recent experimental examples.
Prerequisite: MTH 3180 or permission of instructor

Jazz History I and II
MTH 3400 and 3450 / 3 credits (per semester)
I: Fall; II: Spring
Surveys the history and evolution of jazz from its West African origins and migration to the present. While emphasis is on listening to and analyzing recorded examples, sociopolitical and economic issues are also examined. Students learn to identify stylistic and contextual aspects of jazz based solely on listening and develop a familiarity with the major stylistic innovators from all eras. Readings from scholarly works help provide a comprehensive overview of America’s indigenous music.

Survey of Jazz
MTH 3460 / 2 credits / Spring
An in-depth study of this original American music, from its origins in Africa to the southern U.S., the centrality of New Orleans, the northern migration, and the transformation and expansion of styles during the 20th century. Topics include contemporary trends and the interrelationship of music and society. The various musical characteristics of jazz—including blues, Dixieland, swing, bebop, and fusion—are analyzed, and the works of renowned musicians are examined.

Music From Antiquity
MTH 3575 / 2 credits / Fall
Taught from both musical and social perspectives, this course explores the history of music from its earliest surviving roots in ancient Greece through the opening of the Baroque era. Topics include plainchant, the rise of polyphony, development of notation, rhythmic modes, the Burgundian school, the effects of Renaissance humanism on musical culture, the Renaissance madrigal, basso continuo, and opera.
Prerequisite: MTH 2510 and 2520 and an excellent command of English (reading and writing)

Music of the Common Practice Era
MTH 3576 / 2 credits / Spring
A study of repertoire, social history, performance practice, and changing aesthetics of music in the period c. 1750–1880, concentrating on works by C.P.E. Bach, Haydn, Mozart, Beethoven, Schubert, Berlioz, von Weber, Liszt, Chopin, Brahms, Wagner, and Tchaikovsky. Students are encouraged to investigate and understand stylistic foundations, analytical workings, reception history, and philosophical implications of important musical works of the period.
Prerequisite: MTH 2510 and 2520 and an excellent command of English (reading and writing)

Expansion of Chromaticism
MTH 3577 / 2 credits / Fall
An in-depth look at the period of musical evolution that occurred between the collapse of a “common practice” in music (the closing decades of the 19th century) and World War II. Styles investigated include primitivism, futurism, extreme chromaticism extending into atonality, bitonality, impressionism, expressionism, decadent symbolism, and neoclassicism.
Prerequisite: MTH 2510 and 2520 and an excellent command of English (reading and writing)

Music Since 1945
MTH 3578 / 2 credits / Spring
Presents an in-depth look at expansions of serial technique by the Darmstadt group; the rise of the American avant-garde; the emergence of a newly contextualized tonality; minimalism, mostly in the works of such Americans as Reich, Glass, and Adams, with some works by Pärt and Górecki; and expressions of postmodernism by artists as diverse as Brian Eno, Meredith Monk, Laurie Anderson, and Björk.
Prerequisite: MTH 2510 and 2520 and excellent command of English (reading and writing)

The Music of J.S. Bach
MTH 3600 / 2 credits / Special topic (offered irregularly)
Bach and his music are engaged from historical, social, generic, analytic, and performance-based perspectives. Students examine Bach’s inventiveness in cross-pollinating genres as well as his contrapuntal genius, fascination with musical instrument building, and expansion of the professional life of musicians. In addition to written assignments, each student gives a lecture-demonstration on a work (or segment of a work) by Bach.
Prerequisite: MTH 2510 and 2520 and LWR 1110

The Music of Beethoven
MTH 3620 / 2 credits / Special topic (offered irregularly)
A study of the stylistic influences surrounding Beethoven’s music; the history of its reception; its formal, thematic, and harmonic construction; and how it interrogates other works. The tripartite division of Beethoven’s life is scrutinized and evaluated for its applicability (or lack thereof) to various parts of his repertoire. Students give a lecture-demonstration of one work (or one part of a work).
Prerequisite: MTH 2510 and 2520 and LWR 1110

Mahler and Strauss
MTH 3670 / 2 credits / Special topic (offered irregularly)
The lives, output, and collaborations of Gustav Mahler and Richard Strauss are explored in the context of the heady atmosphere of the Viennese fin de sècle. Discussions of political and social upheavals (Dr. Karl Luger, the Ringstrasse project, and Klimt and the Secessionist movement) are mixed with examination and analysis of representative works, predominantly orchestral songs and symphonies/tone poems.

Seminar in Analysis
MTH 4010 / 2 credits / Spring
Analysis of selected works from the Baroque, Classical, and Romantic eras, with particular attention to tonal design and rhythmic and phraseological structure.
Prerequisite: MTH 4050

History of Recorded Music I: Blues to Bebop
MTH 4120 / 2 credits / Fall
American popular music and its recording techniques (to 1950): ragtime, gospel, blues, vaudeville, New Orleans brass band, swing, Tin Pan Alley, bebop, and early rhythm and blues. Analysis and performance. Offered as SOA 4600 for students in other disciplines.
Prerequisite for MTH 4120: Two years as a music major

History of Recorded Music II: Bebop to Hip-Hop
MTH 4130 / 2 credits / Spring
A continuation of MTH 4120. Cool, mainstream, progressive/free jazz, rhythm and blues, country and western, Broadway, rock ’n’ roll, reggae, soul and Motown, fusion, disco, punk, metal, and hip-hop. Analysis and performance. Offered as SOA 4610 for students in other disciplines.
Prerequisite for MTH 4130: Two years as a music major

Opera History I and II
MTH 4211 and 4212 / 1.5 credits (per semester)
I: Fall; II: Spring
A chronological survey of major operas and opera composers from the early 1600s to the present in cultural context. Participants research and write critical analyses based on documentation of early performances and, when available, archival recordings.

Opera Literature I and II
MTH 4213 and 4214 / 1.5 credits (per semester)
I: Fall; II: Spring
An integrated companion to MTH 4211 and 4212, focusing on historic performance styles and their practical application. Participants learn and present excerpts from each major historical operatic period.

The Golden Age of Recorded Opera
MTH 4225 / 1.5 credits / Special topic (offered irregularly)
Students listen to recordings of such preeminent artists as Birgit Nilsson, Leontyn Price, Teresa Berganza, Christa Ludwig, Nicolai Gedda, and Leonard Warren from the golden age of recorded opera (1950–1985). Attention is paid to the variety of styles, techniques, and interpretations found in various arias, ensembles, and art songs.

The Business of Music
MTH 4450 / 2 credits / Spring
An exploration of business issues relevant to different performing careers in music. Topics include self-promotion, recording, touring and booking, grant writing, contracts, tax concerns, and union issues.
Prerequisite: Permission of instructor

Additional Studies: Undergraduate

World Music Survey I
MUS 1000 / 2 credits / Fall
The music of Japan, India, West Africa, Cuba, and Brazil is compared and contrasted. Topics include the use of music in each respective society; musical forms; types of instruments; and the impact of history, religion, and politics on the music. Lecture/demonstrations; listening and reading assignments; video, slide, and film viewing. Open to students in all disciplines.

Jazz Repertoire I and II: The Great American Songbook
MUS 1070 and 2080 / 2 credits (per semester)
I: Fall; II: Spring
Presents many of the essential American standards (e.g., Gershwin, Porter, Kern, Rodgers and Hart, Hammerstein) regularly performed by working jazz musicians. Each week, a tune is studied aurally, learned by ear, analyzed, and memorized. Small combo techniques, transposition, and interaction are included. Sample recordings of all the selections for these courses are made available.

Piano Pedagogy
MUS 1160 / 2 credits / Alternate years (Fall)
Pianists are introduced to the art of teaching through discussions, lectures, and assignments. Class activities explore teaching techniques, materials, repertoire, and curriculum planning for intermediate and advanced pianists. Students are also given opportunities for practice teaching. Other projects may include conducting a master class, adjudicating a competition, preparing a recital, and researching new technology resources related to pedagogy.
Prerequisite: Permission of instructor

Chorus
MUS 1250 / 2 credits / Every semester
A mixed ensemble of vocal performance with students from all areas of the campus. The chorus performs a varied repertoire of music and presents concerts on campus and in touring venues with orchestra and professional soloists. Offered as SOA 1600 for students in other disciplines.
Prerequisite for MUS 1250: Prior choral experience

Songwriting I
MUS 1320 / 2 credits / Every semester
Introductory study of the craft of songwriting: analysis of lyrics, rhyme, emotional projection, melodic contour, and formal verse-chorus practice. Writing members regularly present work; nonwriting members critique. Offered as SOA 1700 for students in other disciplines.

Songwriting II
MUS 1330 / 2 credits / Every semester
A continuation of MUS 1320. Further study of the craft of songwriting. Writing members present work on a frequent basis; nonwriting members critique, based on criteria beyond personal taste. Open to students in all disciplines.
Prerequisite: MUS 1320

Independent Study (Lower Level)
MUS 1900
Independent Study (Upper Level)
MUS 3900
Variable credits / Every semester
Independent study, covering any area of musical scholarship, is an elective arranged between a student (or group of students) and a faculty member. It demands student initiative and self-guidance.
Prerequisite: A special course contract, filled out by the student and a faculty advisor, specifying goals, criteria, and credits

Music for Stage Managers
MUS 2045 / 1 credit / Spring
A practical introduction to score reading for theatrical stage managers and designers. Existing musical scores of varying levels of difficulty are used to teach musical vocabulary, tempo, and dynamic markings, and instrumental names and notation in their traditional Italian, French, and German languages. Required for and limited to theatre design/technology majors (Conservatory of Theatre Arts & Film).
Prerequisite: Permission of instructor

Jazz Improvisation I
MUS 2050 / 1.5 credits / Fall
Introductory study in jazz improvisation: blues; pentatonic scales; and ionian, aeolian, and dorian modes. AABA forms. Simple chord positions, substitutions, and turnarounds. Melodic contours, rhythmic studies, transposition, and development. Analysis, accompanying, and improvisation.

Jazz Improvisation II
MUS 2060 / 1.5 credits / Spring
A continuation of MUS 2050. Rhythm changes, Latin patterns. Diminished and synthetic scales; chords: super-locrian and lydian-flat 7; and alternative. Modal, linear tunes, binary solos, countermelodies, and background riffs. Analysis, accompanying, and improvisation.
Prerequisite: MUS 2050 or permission of instructor

Rhythmic Analysis
MUS 2065 / 1 credit / Every semester
Provides students with fluency in performance-based sight reading of jazz music. The course is designed to enhance each student’s ability to feel, identify, transcribe, and notate rhythm, with a primary focus on the most common time signatures and divisions of the beat. Limited to jazz studies majors.

Tutorial (Lower Level)
MUS 2900
Tutorial (Upper Level)
MUS 4900
Variable credits / Every semester
A tutorial is an elective arranged between a student and a faculty member. It is intended to allow for intensive study of a particular problem.
Prerequisite: A special course contract, filled out by the student and a faculty advisor, specifying goals, criteria, and credits

Jazz Repertoire III: Latin Jazz
MUS 3070 / 2 credits / Fall
An examination of the melodic and rhythmic influence on jazz of the music of the Caribbean, Mexico, and South America with an emphasis on the music of Brazil.

Jazz Repertoire IV: Bebop
MUS 3080 / 2 credits / Spring
The bebop era changed not only the manner of playing jazz but the way of composing it as well. This course explores the bebop style of composing alternative melodies over the chords of standard popular songs of the day. In addition to learning standard repertoire of the era, students compose original bebop-style melodies.

Jazz Repertoire V: Modal and Cool Jazz
MUS 3090 / 2 credits / Fall
Jazz repertoire and styles presented include examples of modal and cool jazz. The material is taught by rote to develop and strengthen the ability to learn by ear. Classes are conducted in an ensemble format and explore improvisational techniques for all course material.

Jazz Repertoire VI: Contemporary and Post-Bop
MUS 3100 / 2 credits / Spring
Jazz repertoire and styles presented include examples of contemporary and post-bop jazz. The material is taught by rote to develop and strengthen the ability to learn by ear. Classes are conducted in an ensemble format and explore improvisational techniques for all course material.

Great Producers I and II
MUS 3300 and 3310 / 2 credits (per semester)
I: Fall; II: Spring
Students study and analyze production techniques of the great producers in recording history, from the earliest blues sides of the 1920s to the work of George Martin with the Beatles to current work by Dr. Dre and many others. Dynamics, texture, instrumentation, the psychology of production, and use of reverbs and other special effects are examined. Such musical styles as reggae dub, lounge, surf, hip-hop, jazz, blues, and pop are also studied closely.

Studio Apprenticeship
MUS 3770 / 2 credits / Every semester
This analog to MUS 4870 provides self-directed study in studio technology in areas collaboratively defined by students and their academic mentors. Lab instruction is expected.

Internship
MUS 3980 / Variable credits / Every semester
An internship is work-related elective study, typically involving off-campus work (e.g., record companies, tour support, publishing companies, schools, radio stations) and requiring both faculty and on-site supervision.
Prerequisite: Prior arrangement with a private company, internship forms (available from the Career Development Center, ext. 6370), and initial conference with a faculty supervisor

Jazz Repertoire VII and VIII: Synthesis and Performance
MUS 4070 and 4080 / 2 credits (per semester)
VII: Fall; VIII: Spring
Synthesizes the knowledge acquired in Jazz Repertoire I–VI. Drawing on the base of knowledge developed in the first three years of study, students deepen their strengths and interests, refine areas for further development, and define performance styles, with the goal of becoming more fully prepared for professional appearances.

Jazz Arranging I and II
MUS 4410 and 4420 / 2.5 credits (per semester)
I: Fall; II: Spring
A thorough introduction to arranging for small jazz ensemble. Topics include basic techniques of melodic harmonization, writing for two to five horns and rhythm section, and form and development. Limited to jazz studies majors.

Music Notation Software
MUS 4430 / 1.5 credits / Every semester
In this hands-on primer, students become proficient in the use of Finale and Sibelius, the industry standards in music notation software. The embedded tutorials are used as a basis for a project-driven introduction to music notation via the computer.

Studio Assistantship
MUS 4870 / 2 credits / Every semester
This analog to MUS 3770 provides self-directed study in studio technology in areas collaboratively defined by students and their academic mentors. Lab instruction is expected.