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Music Courses

Music Courses

  • Undergraduate Courses

    Composition

    MCO 1010: Models I

    Models is the core music theory curriculum for studio composition and studio production students, consisting of six sequential courses (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. MCO 1010 covers music grammar, fundamental harmony, and multiple musical traditions.

    Credits: 3

    Department: General Technology
    MCO 1015: Jazz Theory I

    The core music theory curriculum for jazz studies students provides a basic foundation leading to proficiency within jazz harmony. Students gain complete facility in major, minor, and dominant seventh scales in every interval, in all 12 keys. Application includes comprehensive abilities within basic foundational harmony, often referred to as II–7, V7, I. This understanding of harmony is immediately put to practical use in standard song forms, some of which are also learned in all 12 keys. Limited to jazz studies majors.

    Credits: 3

    Department: Jazz
    MCO 1020: Models II

    Models is the core music theory curriculum for studio composition and studio production students, consisting of six sequential courses (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. MCO 1020 covers harmony, species counterpoint, and phrase structures.

    Credits: 3

    PREREQ: MCO1010 Or

    Department: General Technology
    MCO 1025: Jazz Theory II

    The core music theory curriculum for jazz studies students provides a basic foundation leading to proficiency within jazz harmony. Students gain complete facility in major, minor, and dominant seventh scales in every interval, in all 12 keys. Application includes comprehensive abilities within basic foundational harmony, often referred to as II–7, V7, I. This understanding of harmony is immediately put to practical use in standard song forms, some of which are also learned in all 12 keys. Limited to jazz studies majors.

    Credits: 3

    PREREQ: MCO1015

    Department: Jazz
    MCO 1130: Introduction to Studio Recording

    An introduction to the recording studio, designed especially for students with no background in music. Students gain an overall understanding of the principles of studio recording and multitrack mixing.

    Credits: 2

    Department: Production Technology
    MCO 1310: Studio Composition I

    The fundamental information needed to function as an engineer/producer in today’s digitally driven recording environment. Includes an overview of the recording studio and in-depth technical information on the properties of sound, microphone design, cabling, digital audio converters, the Nyquist theorem, consoles, and signal processors. Students gain the working knowledge needed to be comfortable in the studio, together with skills in troubleshooting, maintenance, and engineering.

    Credits: 2

    Department: General Technology
    MCO 1320: Studio Composition II

    In this technical exploration of the computer, how it is constructed, and its purpose in a modern recording studio, students gain a transparent view and working knowledge of technology, allowing for greater creative potential. Music-production software programs are explored, e.g., Digital Performer, Logic, Ableton Live, Reason, and Native Instruments. Students learn to troubleshoot and be comfortable in front of any modern computer system with multiple production software programs installed.

    Credits: 2

    PREREQ: MCO1310

    Department: General Technology
    MCO 1410: Studio Composition Seminar

    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. Grading is on a pass/no credit basis.

    Credits: 1

    Department: Composition Technology
    MCO 2010: Models III

    Models is the core music theory curriculum for studio composition and studio production students, consisting of six sequential courses (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. MCO 2010 covers acoustics, proportion, harmonic series, monophony, and species counterpoint.

    Credits: 3

    PREREQ: MCO1020 Or

    Department: General Technology
    MCO 2015: Jazz Harmony I

    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.

    Credits: 2

    Department: Jazz
    MCO 2020: Models IV

    Models is the core music theory curriculum for studio composition and studio production students, consisting of six sequential courses (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. MCO 2020 covers tonal counterpoint, chromatic harmony, larger forms, jazz harmony and analysis.

    Credits: 3

    PREREQ: MCO2010 Or

    Department: General Technology
    MCO 2025: Jazz Harmony II

    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.

    Credits: 2

    PREREQ: MCO2015

    Department: Jazz
    MCO 2310: MIDI Composition I

    Making technology transparent to musical composition. From the foundation of MIDI signal flow, MIDI editing, and sound-programming theory, students learn to translate compositions into a professional MIDI sequence. Emphasis is on synthesis methods, sampling techniques, and an introduction to instrumentation and orchestration within a MIDI performance.

    Credits: 2

    Department: General Technology
    MCO 2320: MIDI Composition II

    A continuation of MCO 2310, with emphasis on instrumentation and orchestration. Students learn advanced MIDI sequencing and sampling techniques for the creation of convincing arrangements and compositions within varying musical scenarios. The acoustical properties of various instrument groups are also addressed.

    Credits: 2

    PREREQ: MCO2310

    Department: General Technology
    MCO 3010: Composition Seminar

    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.

    Credits: 1

    Department: Classical, Composition
    MCO 3020: Models V

    Models is the core music theory curriculum for studio composition and studio production students, consisting of six sequential courses (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. MCO 3020 covers pop music, harmonic and rhythmic analysis.

    Credits: 3

    PREREQ: MCO2020 Or

    Department: General Technology
    MCO 3030: Models VI

    Models is the core music theory curriculum for studio composition and studio production students, consisting of six sequential courses (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. MCO 3030 covers impressionism, expressionism, Fauvism, minimalism, and post-tonality.

    Credits: 3

    PREREQ: MCO3020 Or

    Department: General Technology
    MCO 3330: Studio Production I

    Advanced recording and production technology, with an emphasis on digital multitracking. Large-format “out of the box” consoles and advanced signal path and gain structures are discussed. Includes acoustics and studio design seminars, with soundproofing and construction considerations; and advanced microphone and electronics selection, technique, theory, and practice. Students 
track a variety of instruments together. Culminates in a complex overdubbed class project.

    Credits: 2

    PREREQ: MCO1320 And MCO4360

    Department: Production Technology
    MCO 3340: Studio Production II

    Advanced mixing and mastering, including plug-in automation, audio restoration, and mixing in 5.1 surround sound, with an emphasis on troubleshooting, professionalism, and meticulous attention to production values. Discussions include analog processing and its relevance to digital workstations; the role of the engineer and producer in a modern studio environment; and ethics, technique, and real-time production constraints.

    Credits: 2

    PREREQ: MCO3330

    Department: Production Technology
    MCO 3415: Melody Writing

    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 Rodgers, 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.

    Credits: 2

    Department: Composition Technology
    MCO 3420: Lyric Writing

    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.

    Credits: 2

    Department: General Technology
    MCO 3500: Film Scoring I

    Writing/producing music for motion pictures. Action/dialogue underscoring, multiple cues, synchronization, editing, and critical budgets of time, equipment, and labor.

    Credits: 2

    PREREQ: MCO1320 Or MCO2320

    Department: Composition Technology
    MCO 3510: Film Scoring II

    Practical exercises in the technical and creative aspects of production and engineering, with an emphasis on sound for motion pictures. Topics include production sound, automated dialogue replacement (ADR), SFX, Foley, file formats and Sync, stem mixes, spotting and scoring, mixing to picture, and delivery formats. The course includes demonstrations and a group recording project. Collaborative work with Purchase College film students is encouraged.

    Credits: 2

    PREREQ: MCO3500

    Department: Composition Technology
    MCO 3550: Studio Arranging I

    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.

    Credits: 2

    PREREQ: MCO2020 And MTH2425

    Department: Music
    MCO 3555: Studio Arranging II

    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.

    Credits: 2

    PREREQ: MCO3550

    Department: Music
    MCO 3712: Contracts, Copyrights, and Publishing

    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.

    Credits: 2

    Department: General Technology
    MCO 3722: Touring, Promotion, and Distribution

    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.

    Credits: 2

    Department: General Technology
    MCO 4120: Studio Composition Master Class

    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.

    Credits: 3

    Department: Composition Technology
    MCO 4125: Studio Production Master Class

    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.

    Credits: 3

    Department: Production Technology
    MCO 4350: Digital Audio I

    A “Pro Tools 101” course covering digital audio workstation (DAW) essentials, in which intensive digital editing and DAW skills are developed. Includes specific instruction in Pro Tools shortcuts, file types and digital audio formats, edit modes, groups, playlists, session management, and safe data-file management skills, along with background history on tape vs. digital recording techniques.

    Credits: 2

    Department: General Technology
    MCO 4360: Digital Audio II

    How to equip and set up a modern digital recording studio. Topics include equipment, project, and professional studio design and logistics for stereo and multitrack recording; setting up and running a tracking session; microphone techniques and cue mix strategies; an overview of mixing and mastering, including automation, region manipulation, time-division multiplexing (TDM), and AudioSuite and Real-Time AudioSuite (RTAS) plug-in basics; and advanced signal processing.

    Credits: 2

    PREREQ: MCO4350

    Department: General Technology
    MCO 4711: Creative Production Techniques I

    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.

    Credits: 1.5

    Department: Production Technology
    MCO 4721: Creative Production Techniques II

    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.

    Credits: 1.5

    Department: Production Technology

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    Performance, Ensemble

    MPE 0200: Freshman Classical Jury

    An evaluation of each music major’s progress in the classical programs 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.

    Credits: 0

    Department: Classical, Classical
    MPE 0201: Freshman Jazz Jury

    An evaluation of each jazz studies 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.

    Credits: 0

    Department: Jazz
    MPE 0202: Freshman Studio Composition Jury

    An evaluation of each studio composition 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.

    Credits: 0

    Department: Composition Technology
    MPE 0203: Freshman Studio Production Jury

    An evaluation of each studio production 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.

    Credits: 0

    Department: Production Technology
    MPE 0300: Sophomore Classical Jury

    An evaluation of each music major’s progress in the classical programs 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.

    Credits: 0

    Department: Classical, Classical
    MPE 0301: Sophomore Jazz Jury

    An evaluation of each jazz studies 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.

    Credits: 0

    Department: Jazz
    MPE 0302: Sophomore Studio Composition Jury

    An evaluation of each studio composition 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.

    Credits: 0

    Department: Composition Technology
    MPE 0303: Sophomore Studio Production Jury

    An evaluation of each studio production 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.

    Credits: 0

    Department: Production Technology
    MPE 1010: Keyboard Studies I

    Designed to promote facility at the keyboard, this is the first course in four-semester sequence of lessons for non-keyboard students, which 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.

    Credits: 1

    Department: Music
    MPE 1020: Keyboard Studies II

    Designed to promote facility at the keyboard, this is the second course in a four-semester sequence of lessons for non-keyboard students, which 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.

    Credits: 1

    PREREQ: MPE1010 Or

    Department: Music
    MPE 1030: Studio Chart Reading

    Focuses on the art of reading and performing music notation written for and by studio musicians. Topics include techniques in reading and performing numeric charts, reading and writing music shorthand, and sight-reading charts. This course recreates real-life studio conditions for ensembles and prepares players to participate in the professional opportunities of the recording studio.

    Credits: 1

    Department: General Technology
    MPE 1050: Jazz Ensemble

    Provides students from other disciplines an opportunity to participate in a small jazz combo. Emphasis is on standard jazz repertoire, understanding of the jazz vernacular, and jazz improvisation. A background in performing in similar ensembles in high school is beneficial. Taught by a faculty member of the jazz studies program.

    Credits: 2

    Department: Music
    MPE 1110: Chamber Music

    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.

    Credits: 2

    Department: Classical, Instrumental
    MPE 1112: Brass Chamber Music

    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.

    Credits: 2

    Department: Classical, Instrumental
    MPE 1160: Contemporary Ensemble

    Presents the opportunity to study and perform contemporary works by established composers for diverse instruments, in all styles. Open to all undergraduate music majors.

    Credits: 2

    Department: Classical, Instrumental
    MPE 1165: Purchase New Music

    Presents the opportunity to study and perform contemporary works by student composers for diverse instruments, in all styles. Open to all undergraduate music majors.

    Credits: 2

    Department: Classical, Instrumental
    MPE 1170: Camerata

    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.

    Credits: 2

    Department: Classical, Instrumental
    MPE 1201: Symphony Orchestra

    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.

    Credits: 2

    Department: Classical, Instrumental
    MPE 1210: Woodwind Performance Class

    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.

    Credits: 1

    Department: Classical, Instrumental
    MPE 1211: Woodwind Instrumental Lab

    Elective performance lab for participants in MPE 1210.

    Credits: .5

    Department: Classical, Instrumental
    MPE 1220: Brass Performance and Ensemble

    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.

    Credits: 1

    Department: Classical, Instrumental
    MPE 1221: Brass Instrumental Lab

    Elective performance lab for participants in MPE 1112.

    Credits: .5

    Department: Classical, Instrumental
    MPE 1230: Percussion Performance Class

    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.

    Credits: 1

    Department: Classical, Instrumental
    MPE 1231: Percussion Ensemble

    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.

    Credits: 2

    Department: Classical, Instrumental
    MPE 1232: Hand Drumming

    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.

    Credits: 1

    Department: Music
    MPE 1240: String Performance Class

    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.

    Credits: 1

    Department: Classical, Instrumental
    MPE 1245: Soul Voices Ensemble

    A mixed vocal ensemble that explores the music of the African American experience, including spirituals, gospel, soul, rhythm and blues, funk, and jazz. The semester culminates with a public concert on campus. Open to students in all disciplines, including music majors.

    Credits: 2

    Department: Jazz
    MPE 1270: Viola for Violinists

    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.

    Credits: 2

    Department: Classical, Instrumental
    MPE 1295: Jazz Saxophone Doubling

    A comprehensive overview of playing techniques for the common saxophone doubles, especially clarinet and flute. Specifics on embouchures, fingerings, tone production, and performance practice are facilitated by weekly in-class readings of repertoire, études, and technical exercises.

    Credits: 1

    Department: Jazz
    MPE 1330: Alexander Technique for Musicians

    Designed to improve posture, develop physical awareness, and find physical ease in the process of rehearsal to performance. Students learn how to use their bodies efficiently through the lens of the Alexander Technique.

    Credits: 1

    Department: Music
    MPE 1360: Klezmer Ensemble

    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.

    Credits: 2

    Department: Music
    MPE 1370: Italian Art Song Literature I

    The first half of a two-semester survey 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.

    Credits: 1.5

    Department: Classical, Voice
    MPE 1375: Italian Art Song Literature II

    The second half of a two-semester survey 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 1390.

    Credits: 1.5

    PREREQ: MPE1370

    Department: Classical, Voice
    MPE 1380: Italian Diction I

    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.

    Credits: 1

    Department: Classical, Voice
    MPE 1390: Italian Diction II

    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 1375.

    Credits: 1

    PREREQ: MPE1380

    Department: Classical, Voice
    MPE 1400: Guitar Performance Class

    Covers a full range of solo repertoire and performance. Students actively participate in the analytic and critical process for pedagogical purposes.

    Credits: 1

    Department: Classical, Instrumental
    MPE 1420: Harp Performance Class

    A weekly gathering of harpists, providing a forum for performance, discussion, and examination of the many facets of harp technique and interpretation. Repertoire may include solo, chamber, and orchestral works. Audition techniques, performance traditions, and instrument maintenance are also covered.

    Credits: 1

    Department: Classical, Instrumental
    MPE 1450: Guitar Ensemble

    Designed for classical guitarists who are interested in gaining ensemble, sight-reading, and arranging skills for guitar ensemble. Students are expected to perform repertoire from the 20th and 21st centuries and create their own arrangements for performance by various combinations, such as a guitar orchestra, duos, trios, and quartets. Strong musicianship skills are required.

    Credits: 2

    Department: Classical, Instrumental
    MPE 1480: Piano Performance Class

    Covers the full range of solo repertoire for piano. Students perform and actively participate in the analytical and critical process for pedagogical purposes.

    Credits: 1

    Department: Classical, Instrumental
    MPE 1550: Jazz Orchestra

    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.

    Credits: 2

    Department: Jazz
    MPE 1600: Purchase Latin Jazz Orchestra

    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.

    Credits: 2

    Department: Jazz
    MPE 1650: Studio Programs Ensemble

    Students develop performance skills in a cross-genre ensemble of popular music styles. While most of the group work takes place in a studio setting, live performance and recording sessions are also included. Students learn the skills of projection, amplification, and audience engagement and have the opportunity to develop their unique performance style and musical voice. Limited to studio composition and studio production majors.

    Credits: 2

    Department: General Technology
    MPE 1700: Jazz Combos

    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.

    Credits: 2

    Department: Jazz
    MPE 1800: Purchase Symphonic Winds

    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 all Purchase College students as well as community residents.

    Credits: 2

    Department: Classical, Instrumental
    MPE 1850: Sight Reading Workshop

    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.

    Credits: 1

    Department: Classical, Instrumental
    MPE 2010: Keyboard Studies III

    Designed to promote facility at the keyboard, this is the third course in a four-semester sequence of lessons for non-keyboard students, which 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.

    Credits: 1

    PREREQ: MPE1020 Or

    Department: Music
    MPE 2020: Keyboard Studies IV

    Designed to promote facility at the keyboard, this is the fourth course in a four-semester sequence of lessons for non-keyboard students, which 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.

    Credits: 1

    PREREQ: MPE2010 Or

    Department: Music
    MPE 2150: Jazz Drumming for Nonmajors

    Jazz drumming instruction for students in other disciplines, delivered in a French conservatory style, in a small group setting.

    Credits: 2

    Department: Music
    MPE 2160: Jazz Guitar for Nonmajors

    Jazz guitar instruction for students in other disciplines, delivered in a French conservatory style, in a small group setting.

    Credits: 2

    Department: Music
    MPE 2170: Jazz Piano for Nonmajors

    Jazz piano instruction for students in other disciplines, delivered in a French conservatory style, in a small group setting.

    Credits: 2

    Department: Music
    MPE 2230: Movement Styles

    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.

    Credits: 1

    Department: Classical, Voice
    MPE 2260: Stage Techniques for Singers

    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.

    Credits: 2

    Department: Classical, Voice
    MPE 2370: German Art Song Literature I

    The first half of a two-semester survey 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.

    Credits: 1.5

    Department: Classical, Voice
    MPE 2375: German Art Song Literature II

    The second half of a two-semester survey 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 2390.

    Credits: 1.5

    PREREQ: MPE2370

    Department: Classical, Voice
    MPE 2380: German Diction I

    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.

    Credits: 1

    Department: Classical, Voice
    MPE 2390: German Diction II

    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 2375.

    Credits: 1

    PREREQ: MPE2380

    Department: Classical, Voice
    MPE 2550: Keyboard Literature I

    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.

    Credits: 2

    PREREQ: MTH2510 And MTH2520

    Department: Classical, Instrumental
    MPE 2560: Keyboard Literature II

    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.

    Credits: 2

    PREREQ: MTH2510 And MTH2520

    Department: Classical, Instrumental
    MPE 2570: Keyboard Literature III

    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.

    Credits: 2

    Department: Classical, Instrumental
    MPE 2580: Keyboard Literature IV

    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.

    Credits: 2

    Department: Classical, Instrumental
    MPE 2610: Collaborative Piano

    Study of the art of accompanying singers and instrumentalists. Members of the class perform regularly.

    Credits: 1

    Department: Classical, Instrumental
    MPE 3260: Opera Coaching

    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.

    Credits: .5

    Department: Classical, Voice
    MPE 3350: Opera Workshop

    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.

    Credits: 2

    COREQ: MPE3355

    Department: Classical, Voice
    MPE 3355: Opera Workshop Lab

    A practical application of opera rehearsal techniques as studied in MPE 3350.

    Credits: 1

    COREQ: MPE3350

    Department: Classical, Voice
    MPE 3370: French Art Song Literature I

    The first half of a two-semester survey 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.

    Credits: 1.5

    Department: Classical, Voice
    MPE 3375: French Art Song Literature II

    The second half of a two-semester survey 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 3390.

    Credits: 1.5

    PREREQ: MPE3370

    Department: Classical, Voice
    MPE 3380: French Diction I

    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.

    Credits: 1

    Department: Classical, Voice
    MPE 3390: French Diction II

    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 3375.

    Credits: 1

    PREREQ: MPE3380

    Department: Classical, Voice
    MPE 3500: Conducting Techniques

    A practical introduction: simple beat patterns with both hands, cues with the left hand, as well as indications for sforzati, cut offs, and lyric gestures. Works from early Haydn to Brahms.

    Credits: 2

    Department: Classical, Classical
    MPE 3510: Conducting Strategies

    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 performance, vocal performance, and composition majors.

    Credits: 2

    PREREQ: MPE3500

    Department: Classical, Classical
    MPE 3991: Junior Recital: Classical

    A 30-minute recital of repertoire or original compositions (minimum 30 minutes for strings). 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.

    Credits: 1

    PREREQ: MPE0300 Or MPE0301 Or MPE0302

    Department: Classical, Classical
    MPE 3992: Junior Recital: Jazz

    A 45-minute 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.

    Credits: 1

    PREREQ: MPE0300 Or MPE0301 Or MPE0302

    Department: Jazz
    MPE 3993: Junior Recital: Studio Composition

    A 30-minute recital of 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.

    Credits: 1

    PREREQ: MPE0300 Or MPE0301 Or MPE0302

    Department: Composition Technology
    MPE 4350: Private Study: For Students in Other Disciplines

    Please contact the Conservatory of Music for further information.

    Credits: 3

    Department: Music
    MPE 4530: Improvisation for Non-Jazz Majors

    Covers improvisation in every form, including all harmonic progressions and tonalities. It is taught by a jazz pianist who has a clear understanding of classical music and the sensibilities of its players.

    Credits: 1

    Department: Music

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    Music History, Theory, and Musicianship

    MTH 1010: Music Theory I

    The first course in 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.

    Credits: 2

    Department: Classical, Classical
    MTH 1020: Music Theory II

    The second course in 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.

    Credits: 2

    PREREQ: MTH1010 Or

    Department: Classical, Classical
    MTH 1410: Solfège I

    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. The first course in a required six sequential semester sequence.

    Credits: 1.5

    Department: Classical, Classical
    MTH 1415: Studio Ear Training I

    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.

    Credits: 1.5

    Department: General Technology
    MTH 1420: Solfège II

    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. The second course in a required six sequential semester sequence.

    Credits: 1.5

    PREREQ: MTH1410 Or

    Department: Classical, Classical
    MTH 1425: Studio Ear Training II

    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.

    Credits: 1.5

    PREREQ: MTH1415 Or

    Department: General Technology
    MTH 1430: Jazz Ear Training I

    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. Limited to jazz studies majors.

    Credits: 1.5

    Department: Jazz
    MTH 1436: Vocal Ear Training I

    An extensive exploration of the elements of sight singing, rhythmic study, and solfège, with progressive practical application throughout four semesters of study (MTH 1436, 1446, 2436, and 2446).

    Credits: 1.5

    Department: Classical, Voice
    MTH 1437: Vocal Keyboard Skills I

    Establishes a familiarity with the keyboard and a thorough knowledge of essential skills to empower students in their pursuit of independent repertoire study.

    Credits: 1

    Department: Classical, Voice
    MTH 1440: Jazz Ear Training II

    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. Limited to jazz studies majors.

    Credits: 1.5

    PREREQ: MTH1430

    Department: Jazz
    MTH 1446: Vocal Ear Training II

    An extensive exploration of the elements of sight singing, rhythmic study, and solfège, with progressive practical application throughout four semesters of study (MTH 1436, 1446, 2436, and 2446).

    Credits: 1.5

    PREREQ: MTH1436 Or

    Department: Classical, Voice
    MTH 1447: Vocal Keyboard Skills II

    Establishes a familiarity with the keyboard and a thorough knowledge of essential skills to empower students in their pursuit of independent repertoire study.

    Credits: 1

    PREREQ: MTH1437

    Department: Classical, Voice
    MTH 1560: Introduction to World Music

    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.

    Credits: 2

    Department: Music
    MTH 2050: Music Theory III

    The third course in 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.

    Credits: 2

    PREREQ: MTH1020 Or

    Department: Classical, Classical
    MTH 2230: World Music and Jazz Traditions

    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.

    Credits: 2

    Department: Music
    MTH 2410: Solfège III

    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. The third course in a required six sequential semester sequence.

    Credits: 1.5

    PREREQ: MTH1420 Or

    Department: Classical, Classical
    MTH 2415: Studio Ear Training III

    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.

    Credits: 1.5

    PREREQ: MTH1425 Or Or

    Department: General Technology
    MTH 2420: Solfège IV

    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. The fourth course in a required six sequential semester sequence.

    Credits: 1.5

    PREREQ: MTH2410 Or

    Department: Classical, Classical
    MTH 2425: Studio Ear Training IV

    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.

    Credits: 1.5

    PREREQ: MTH2415 Or

    Department: General Technology
    MTH 2430: Jazz Ear Training III

    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. Limited to jazz studies majors.

    Credits: 1.5

    PREREQ: MTH1440

    Department: Jazz
    MTH 2436: Vocal Ear Training III

    An extensive exploration of the elements of sight singing, rhythmic study, and solfège, with progressive practical application throughout four semesters of study (MTH 1436, 1446, 2436, and 2446).

    Credits: 1.5

    PREREQ: MTH1446 Or

    Department: Classical, Voice
    MTH 2437: Vocal Keyboard Skills III

    Establishes a familiarity with the keyboard and a thorough knowledge of essential skills to empower students in their pursuit of independent repertoire study.

    Credits: 1

    PREREQ: MTH1447

    Department: Classical, Voice
    MTH 2440: Jazz Ear Training IV

    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. Limited to jazz studies majors.

    Credits: 1.5

    PREREQ: MTH2430

    Department: Jazz
    MTH 2446: Vocal Ear Training IV

    An extensive exploration of the elements of sight singing, rhythmic study, and solfège, with progressive practical application throughout four semesters of study (MTH 1436, 1446, 2436, and 2446).

    Credits: 1.5

    PREREQ: MTH2436 Or

    Department: Classical, Voice
    MTH 2447: Vocal Keyboard Skills IV

    Establishes a familiarity with the keyboard and a thorough knowledge of essential skills to empower students in their pursuit of independent repertoire study.

    Credits: 1

    PREREQ: MTH2437

    Department: Classical, Voice
    MTH 2510: Survey of Music History I

    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.

    Credits: 3

    Department: Music
    MTH 2520: Survey of Music History II

    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.

    Credits: 3

    Department: Music
    MTH 3050: Music Theory IV

    The fourth course in 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.

    Credits: 2

    PREREQ: MTH2050 Or

    Department: Classical, Classical
    MTH 3070: Orchestration I

    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.

    Credits: 2

    PREREQ: MTH3050 Or MCO2020

    Department: Classical, Composition
    MTH 3080: Orchestration II

    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.

    Credits: 2

    PREREQ: MTH3050 Or MCO2020

    Department: Classical, Composition
    MTH 3180: Electroacoustic Music I

    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.

    Credits: 2

    Department: Music
    MTH 3190: Electroacoustic Music II

    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.

    Credits: 2

    PREREQ: MTH3180

    Department: Music
    MTH 3370: Improvisation for Classical Musicians

    Fosters deep understanding of music theory by returning to 18th-century training methods that employ analysis and synthesis together, in place of the current reliance on analysis alone. On the basis of analysis of theoretical principles of 18th-century models of ornamentation, free fantasias, basso continuo, and cadenzas, students learn to do original work in these genres.

    Credits: 2

    Department: Classical, Instrumental
    MTH 3400: Jazz History I

    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. Limited to jazz studies majors.

    Credits: 3

    Department: Jazz
    MTH 3410: Solfège V

    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. The fifth course in a required six sequential semester sequence.

    Credits: 1.5

    PREREQ: MTH2420 Or

    Department: Classical, Classical
    MTH 3420: Solfège VI

    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. The sixth course in a required six sequential semester sequence.

    Credits: 1.5

    PREREQ: MTH3410 Or

    Department: Classical, Classical
    MTH 3450: Jazz History II

    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.

    Credits: 3

    Department: Jazz
    MTH 3510: Music Since 1900

    Examines major developments and trends in 20th-century musical style, including impressionism, primitivism, expressionism, and neoclassicism. Studies include an examination of cultural and social movements as expressed through other art forms.

    Credits: 2

    PREREQ: MTH2520

    Department: Music
    MTH 3520: Disruption and Art Music

    Explores the role that radical thinking plays in art music. With a special focus on avant-garde artists from John Cage to the present, this course examines the roles that historical figures, such as Charles Ives, have played in establishing art music’s role in contemporary life. Includes a class trip to a multimedia performance in New York City.

    Credits: 2

    Department: Music
    MTH 3576: Music of the Common Practice Era

    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.

    Credits: 2

    PREREQ: MTH2510 And MTH2520

    Department: Music
    MTH 3577: Expansion of Chromaticism

    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.

    Credits: 2

    PREREQ: MTH2510 And MTH2520

    Department: Music
    MTH 3578: Music Since 1945

    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.

    Credits: 2

    Department: Music
    MTH 3600: The Music of J.S. Bach

    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.

    Credits: 2

    PREREQ: MTH2510 And MTH2520 And WRI1110

    Department: Classical, Classical
    MTH 3620: The Music of Beethoven

    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).

    Credits: 2

    PREREQ: MTH2510 And MTH2520 And (LWR1110 Or WRI1110 )

    Department: Classical, Classical
    MTH 3630: Berlioz, Wagner, and Liszt

    A study of the lives, output, and philosophies of the three composers of largely programmatic music who comprised the New German School and were opposed strongly by Brahms and Eduard Hanslick. The rich corpus of prose works (primarily those printed in Die neue Zeitschrift für Musik) left by these composers is used to interrogate their musical scores.

    Credits: 2

    PREREQ: MTH2510 Or MTH2520 Or WRI1110

    Department: Music
    MTH 3670: Mahler and Strauss

    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 siècle. 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.

    Credits: 2

    PREREQ: MTH2510 And MTH2520

    Department: Classical, Classical
    MTH 4010: Seminar in Analysis

    Analysis of selected works from the Baroque, Classical, and Romantic eras, with particular attention to tonal design and rhythmic and phraseological structure.

    Credits: 2

    PREREQ: MTH4050

    Department: Classical, Classical
    MTH 4050: Music Theory V

    The fifth, culminating course in 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.

    Credits: 2

    PREREQ: MTH3050 Or

    Department: Classical, Classical
    MTH 4075: Post-Tonal Theory and Analysis

    Students examine and contextualize many of the important works from the Second Viennese School and beyond. Special emphasis is given to the impact of such early 20th-century figures as Schoenberg and Stravinsky, opera, innovations in the work of Oliver Messiaen, and music by living composers. Major political and social changes during the century are factored into the musical discussions.

    Credits: 2

    Department: Music
    MTH 4120: History of Recorded Music I: Blues to Bebop

    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.

    Credits: 2

    Department: Music
    MTH 4130: History of Recorded Music II: Bebop to Hip-Hop

    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.

    Credits: 2

    Department: Music
    MTH 4211: Opera History I

    The first half of a two-semester 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.

    Credits: 2

    Department: Classical, Voice
    MTH 4212: Opera History II

    The second half of a two-semester 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.

    Credits: 1

    PREREQ: MTH4211

    Department: Classical, Voice
    MTH 4213: Opera Literature I

    An integrated companion to MTH 4211, focusing on historic performance styles and their practical application. Participants learn and present excerpts from each major historical operatic period.

    Credits: 1.5

    Department: Classical, Voice
    MTH 4214: Opera Literature II

    An integrated companion to MTH 4212, focusing on historic performance styles and their practical application. Participants learn and present excerpts from each major historical operatic period.

    Credits: 1.5

    PREREQ: MTH4213

    Department: Classical, Voice
    MTH 4310: Bridges: The Intersection of Classical and Jazz Piano

    Students explore both the commonalities and differences in jazz and classical piano, gaining versatility and familiarity with more than one genre at the keyboard. Theory is a vital topic: jazz studies majors study the counterpoint basic to the music of Bach, and classical pianists study jazz harmony to help them develop idiomatic vocabulary.

    Credits: 2

    Department: Music
    MTH 4320: The Magic of the Fugue

    Provides training in composing and analyzing fugues based on teaching methods outlined in The Art of the Fugue (1750) by J.S. Bach. Each lecture illuminates one of Bach’s teaching points and is followed by written assignments. The final exam is the composition of a fugue on a given subject.

    Credits: 2

    Department: Classical, Classical
    MTH 4340: World Traditions in Music and Cultures

    A survey course introducing students to the major musical traditions of the world. Topics include structures, scales, instruments, and cultural elements of music from Asia, Africa, Europe, Australia and the Americas, supplemented by historical and contemporary recordings and films.

    Credits: 2

    PREREQ: MTH4010

    Department: Music
    MTH 4430: Advanced Music Theory I

    Offers seniors the opportunity to advance skills in the terminology and application of music theory. Covers musical style and language from the late Renaissance through the end of the Classical period.

    Credits: 2

    PREREQ: MTH4010

    Department: Music
    MTH 4440: Advanced Music Theory II

    Offers seniors the opportunity to advance skills in the terminology and application of music theory. Covers musical style and language from the Romantic period through the 20th century.

    Credits: 2

    PREREQ: MTH4010

    Department: Music

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    Additional Studies

    MUS 1040: Music Freshman Seminar

    Freshman music majors in all areas join together for a common experience. The seminar begins with the “nuts and bolts” of how to access and use essential resources. Through presentations from faculty and staff, students then delve into the capabilities of the conservatory and understanding music-making as a collaborative art form.

    Credits: 1

    Department: Music
    MUS 1060: Reflections of the World in Western Music, 1500–2000

    Designed with the nonmusician in mind, this course explores the aesthetics of music through time in the Western world. Parallels in the worlds of art, politics, economics, and philosophy are explored with the goal of giving students a better understanding of how the music of today does, and does not, relate to that of previous centuries.

    Credits: 2

    Department: Music
    MUS 1070: Jazz Repertoire I: The Great American Songbook

    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. Limited to jazz studies majors.

    Credits: 2

    Department: Jazz
    MUS 1160: Piano Pedagogy

    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.

    Credits: 2

    Department: Music
    MUS 1250: Chorus

    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.

    Credits: 2

    Department: Music
    MUS 1320: Songwriting I

    Introductory study of the craft of songwriting: analysis of lyrics, rhyme, emotional projection, melodic contour, and formal verse-chorus practice.

    Credits: 2

    Department: Composition Technology
    MUS 1330: Songwriting II

    A continuation of MUS 1320. Further study of the craft of songwriting.

    Credits: 2

    PREREQ: MUS1320 Or SOA1700

    Department: Composition Technology
    MUS 2040: Introduction to Classical Music

    In this course, students gain a deeper appreciation of popular music by addressing its origins, from Greek music to Middle Eastern folk traditions, the birth of notation, and the Renaissance, Baroque, Classical, and Romantic periods of Western music.

    Credits: 3

    Department: Music
    MUS 2050: Jazz Improvisation I

    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. Limited to jazz studies majors.

    Credits: 1.5

    Department: Jazz
    MUS 2060: Jazz Improvisation II

    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. Limited to jazz studies majors.

    Credits: 1.5

    PREREQ: MUS2050

    Department: Jazz
    MUS 2065: Rhythmic Analysis

    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.

    Credits: 1

    Department: Jazz
    MUS 2080: Jazz Repertoire II: The Great American Songbook

    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. Limited to jazz studies majors.

    Credits: 2

    Department: Jazz
    MUS 2570: Introduction to Jazz

    An introduction to jazz music, from 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. The various musical characteristics of jazz—including blues, Dixieland, swing, bebop, and fusion—are analyzed, and the works of renowned musicians are examined.

    Credits: 2

    Department: Jazz
    MUS 3060: Ritmica Method

    Develops in students a deeper understanding of rhythm as a musical element, moving beyond the arithmetic function of rhythm to explore its melodic and intuitive functions.

    Credits: 2

    Department: Music
    MUS 3070: Jazz Repertoire III: Latin Jazz

    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. Limited to jazz studies majors.

    Credits: 2

    Department: Jazz
    MUS 3080: Jazz Repertoire IV: Bebop

    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. Limited to jazz studies majors.

    Credits: 2

    Department: Jazz
    MUS 3090: Jazz Repertoire V: Modal and Cool Jazz

    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. Limited to jazz studies majors.

    Credits: 2

    Department: Jazz
    MUS 3100: Jazz Repertoire VI: Contemporary and Post-Bop

    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. Limited to jazz studies majors.

    Credits: 2

    Department: Jazz
    MUS 3370: Acoustics and Design

    A study of room acoustics and architectural design, along with the underlying math. The objective is for students to gain an understanding of how acoustics work in various venues and the skills to solve problems in their own acoustic environments and to design corrective treatments.

    Credits: 2

    Department: Music
    MUS 3770: Studio Apprenticeship

    Provides self-directed study in studio technology in areas collaboratively defined by students and their academic mentors. Lab instruction is expected.

    Credits: 2

    Department: Production Technology
    MUS 4070: Jazz Repertoire VII: Synthesis and Performance

    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. Limited to jazz studies majors.

    Credits: 2

    Department: Jazz
    MUS 4080: Jazz Repertoire VIII: Synthesis and Performance

    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. Limited to jazz studies majors.

    Credits: 2

    Department: Jazz
    MUS 4410: Jazz Arranging I

    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.

    Credits: 2.5

    Department: Jazz
    MUS 4420: Jazz Arranging II

    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.

    Credits: 2.5

    PREREQ: MUS4410

    Department: Jazz
    MUS 4435: Advanced Music Theory I

    Offers seniors the opportunity to advance skills in the terminology and application of music theory. Covers musical style and language from the late Renaissance through the end of the Classical period in the fall semester and from the Romantic period through the 20th century in the spring semester.

    Credits: 2

    PREREQ: MTH4010

    Department: Music
    MUS 4440: Advanced Music Theory II

    Offers seniors the opportunity to advance skills in the terminology and application of music theory. Covers musical style and language from the late Renaissance through the end of the Classical period in the fall semester and from the Romantic period through the 20th century in the spring semester.

    Credits: 2

    PREREQ: MTH4010

    Department: Music
    MUS 4470: New Modalities in Chamber Music

    Examines the varied career paths open to composers and performers in the changing musical ecosystem. Contemporary, classical, jazz and world, indie rock, electronica, multimedia work, and more are explored. Analysis of different artists, ensembles, presenters, and festivals, trips to New York venues, and interviews with leaders in the field provide unique insights. Students create and present a performance project.

    Credits: 2

    Department: Classical, Classical
    MUS 4480: The Art of Programming Music in the 21st Century

    A concert program should be more than a random selection of works. How is a concert program put together? What are the reasons for choosing each piece? Is there an underlying concept or stylistic concern? Are there political issues involved? What are the public-relations ramifications? This course examines the philosophical, aesthetic, and practical considerations in concert programming today.

    Credits: 2

    Department: Classical, Classical
    MUS 4520: Trends in Music in Society

    Students analyze music professions within a wide arts-and-culture context and within the national and international financial and political landscapes, then posit professional growth opportunities.

    Credits: 1

    Department: Music
    MUS 4521: Generating New Opportunities in Music

    Building on MUS 4521 In which professional growth opportunities are identified, students shape and refine their ideas, and build rough business plans.

    Credits: 1

    PREREQ: MUS4520

    Department: Music
    MUS 4522: Establishing a Professional Musical Life

    Addresses taxes, management of debt, unions, gigging, choice of professional location, professional behavior, and networking.

    Credits: 1

    Department: Music
    MUS 4524: Creating and Sustaining a Musical Ensemble

    Many conservatory students form ensembles, which range across all three areas: classical, jazz, and music and technology. Frequently upon graduation, these ensembles attempt to stay together and “make it” in the professional world. Essential skills and knowledge are needed to stand a chance at success. Seasoned professionals who have made this work (and some who have not) teach this course.

    Credits: 1

    PREREQ: MUS4521 And MUS4600

    Department: Music
    MUS 4525: Career Development Skills for Musicians

    Covers how to write effective résumés (for different uses) and cover letters, how to interact with a potential or future employer, interview and audition techniques, and uses of social media for professional purposes.

    Credits: 1

    Department: Music
    MUS 4526: Producing Musical Concerts

    Addresses the complex set of skills needed to successfully produce a concert, including knowing the availability and characteristics of venues, equipment, amplification, programming for different populations, publicity, and audience cultivation.

    Credits: 1

    PREREQ: MUS4521

    Department: Music
    MUS 4527: Studio Teaching for Musicians

    Most graduates of music conservatories earn a substantial portion of their income from teaching, yet know very little about associated business practices. This course teaches students how to establish a private teaching studio (financials, insurance, taxes, scheduling, common practices). It also reviews teaching opportunities and risks in community music schools and for-profit teaching businesses.

    Credits: 1

    PREREQ: MUS4520

    Department: Music
    MUS 4600: Fundraising in Music

    Students learn how to research both public and private grants, the uses and risks of crowdsourcing, and how to begin to build an individual giving plan.

    Credits: 1

    PREREQ: MUS4521

    Department: Music

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    Graduate Courses

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    Composition

    MCO 5115: Composition Seminar

    Group discussions and presentations of student works, together with analysis of music by arange of established composers, encompassing many different styles. Live performances and guest artists enhance class sessions.

    Credits: 1

    Department: Classical, Composition
    MCO 5180: Contemporary Trends in Jazz Composition

    Students write and perform their own compositions in the jazz vernacular and critically discuss each other’s work. In addition, various compositional models are analyzed, including compositions of Wayne Shorter, Kenny Wheeler, Andy Laverne, Bill Evans, John Abercrombie, and others. Compositions from the Great American Songbook are also analyzed with regard to thematic development and harmonic motion.

    Credits: 2

    Department: Jazz
    MCO 5190: Jazz Composition Workshop

    Students write and perform for specific instrumental groupings and form ensembles designed to interpret their original work. Composers and performers are encouraged to give input and jointly engage in the creative process by sharing different viewpoints. These collaborations provide insight into the complete process of writing, arranging, and performing an original work from start to end.

    Credits: 2

    Department: Jazz
    MCO 5200: Writing and Production Seminar I

    Practical collaborations between writers and engineers/producers. Writers and producers are teamed with one another to produce high-quality demo recordings in the digital studios, within realistic professional time and personnel constraints. Emphasis is on the collaborative aspect of musical composition and production.

    Credits: 2

    Department: Music
    MCO 5210: Writing and Production Seminar II

    Practical collaborations between writers and engineers/producers. Writers and producers are teamed with one another to produce high-quality demo recordings in the digital studios, within realistic professional time and personnel constraints. Emphasis is on the collaborative aspect of musical composition and production.

    Credits: 2

    Department: Production Technology
    MCO 5250: New Waves in Electronic Music

    A project-based study of trends in electronic music, including electronica, ambient, interactive electronics, and sound design. Students explore techniques employed by DJs, instrumentalists, and other musicians with an eye toward their own innovations. Includes both readings and historical studies as well as project-based music making.

    Credits: 2

    Department: Composition Technology
    MCO 5340: 20th-Century Orchestration

    A survey of the orchestration techniques of Debussy, Stravinsky, Webern, Bartok, Hindemith, Ellington, Gil Evans, and Quincy Jones. Brief projects based on each style.

    Credits: 2

    Department: Classical, Composition
    MCO 5350: 21st-Century Technology and Performance Practice

    A hands-on investigation of creative uses of technology in 21st-century music making. Students learn from models of great works and develop innovative applications of the most recent technological developments through music performance.

    Credits: 2

    Department: Composition Technology
    MCO 5400: Studio Composition Seminar

    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. Grading is on a pass/no credit basis.

    Credits: 1

    Department: Composition Technology
    MCO 5415: Melody Writing

    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 Rodgers, 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.

    Credits: 2

    Department: Composition Technology
    MCO 5420: Lyric Writing

    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.

    Credits: 2

    Department: Composition Technology
    MCO 5430: Advanced Songwriting

    Advanced analysis of lyrics, rhyme, emotional projection, melodic contour, and formal verse-chorus practice. For experienced composers and lyricists who desire to broaden their understanding of the craft. Students are expected to be highly motivated to learn and to explore high-level collaborations across disciplines.

    Credits: 2

    Department: Music
    MCO 5445: Practical Techniques in Studio Composition

    An in-depth study of specific compositional devices that enhance the quality of a writer’s output, regardless of style. The course focuses on scale selection, melodic development, nontraditional harmony, dynamic markings, and contrapuntal devices to facilitate well-crafted composition. Projects include integrating classroom assignments into original works. The course objective is to synthesize cognitive and “ear” writing methods into one fluid process.

    Credits: 2

    Department: Composition Technology
    MCO 5450: Seminar in Mixing and Engineering

    An advanced study of digital signal processors in the modern digital studio environment, focusing on their specific uses during the mix-down process. Engineers are immersed in real-world situations to foster technical and creative solutions within a typical engineer/client relationship. Emphasis is on the perception of the mind and the ear, mix techniques, and standard business practices.

    Credits: 2

    Department: Music
    MCO 5455: Seminar in Studio Design

    A practical exploration of design options for the modern recording studio, including its growing role in video and film postproduction. Construction techniques, space design, acoustic treatments, and facility ergonomics are examined, and changes in studio facilities in the digital age are discussed. Students learn how to spec and budget their own midsize recording facility, accounting for all aspects of equipment, construction, HVAC, electrical, and overhead.

    Credits: 2

    Department: Production Technology
    MCO 5460: Seminar in Studio Arranging

    Advanced arranging skills for transforming music from its simplest rendering into complex orchestral and experimental arrangements. Class time includes projects using Pro Tools and MOTU Digital Performer as compositional/arranging platforms. Students alternately assume the roles of composer, musician, and engineer to develop collaborative communication skills from each of these points of view.

    Credits: 2

    Department: Composition Technology
    MCO 5465: Seminar in World Music

    An overview of global musical styles with a special focus on African and Latin cultures. Emphasis is placed on understanding the present and historical practices of music making and why this music is relevant in the world-music scene today. Invited guests, together with video and audio recordings, provide additional insight into the sociological and practical relevance of these styles.

    Credits: 2

    Department: Music
    MCO 5475: Seminar in Synchronization and Digital Media

    A hands-on seminar on advanced digital editing with a focus on the visual image. Studies include film sound and scoring, game sound, television sweetening, and Internet audio. Studies explore frame rates, video latency, troubleshooting, and various technologies and their relationship to working with sound for picture. Students also explore various delivery formats and media.

    Credits: 2

    Department: Production Technology
    MCO 5485: Seminar in Studio Scoring

    A writing-intensive course geared toward meeting client deadlines, with a strong emphasis on the craft involved in creating music scores in the studio. Assignments include writing for television, film, advertising, spoken-word, and Web-based situations. The composer as businessperson and current practices in the music business are also addressed.

    Credits: 2

    Department: Composition Technology

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    Performance, Ensemble

    MPE 5140: Chamber Music

    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 performance.

    Credits: 2

    Department: Classical, Instrumental
    MPE 5142: Brass Chamber Music

    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.

    Credits: 2

    Department: Classical, Instrumental
    MPE 5201: Symphony Orchestra

    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.

    Credits: 2

    Department: Classical, Instrumental
    MPE 5205: Camerata

    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.

    Credits: 2

    Department: Classical, Instrumental
    MPE 5211: Woodwind Instrumental Lab

    Companion performance lab for participants in MPE 5450.

    Credits: .5

    Department: Classical, Instrumental
    MPE 5221: Brass Instrumental Lab

    Companion performance lab for participants in MPE 5142.

    Credits: .5

    Department: Classical, Instrumental
    MPE 5231: Percussion Ensemble

    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.

    Credits: 2

    Department: Classical, Instrumental
    MPE 5235: Composer-in-Residence

    Designed to provide a preprofessional environment for graduate composition students. Composers are placed “in residence” with an ensemble for which they compose a new work and fully integrate themselves into the workings of the ensemble. Specific duties vary depending on the size and nature of the performing ensemble and the demands of the composition.

    Credits: 2

    Department: Classical, Composition
    MPE 5250: Opera Workshop

    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.

    Credits: 2

    Department: Classical, Voice
    MPE 5253: Opera Workshop Lab

    A practical application of opera rehearsal techniques as studied in MPE 5250.

    Credits: 1

    COREQ: MPE5250

    Department: Classical, Voice
    MPE 5255: Operatic Styles I

    The first in a three-semester sequence, which is the principal focus of the graduate program in opera studies. Students prepare operatic scenes and arias for presentation in a master-class setting every week. Emphasis is on correct stylistic interpretation and performance practice in each stylistic period of opera history, from Monteverdi to recent works. Repertoire is assigned according to each participant’s needs and abilities.

    Credits: 2

    Department: Classical, Voice
    MPE 5256: Operatic Styles II

    The second in a three-semester sequence, which is the principal focus of the graduate program in opera studies. Students prepare operatic scenes and arias for presentation in a master-class setting every week. Emphasis is on correct stylistic interpretation and performance practice in each stylistic period of opera history, from Monteverdi to recent works. Repertoire is assigned according to each participant’s needs and abilities.

    Credits: 2

    Department: Classical, Voice
    MPE 5257: Operatic Styles III

    The third in a three-semester sequence, which is the principal focus of the graduate program in opera studies. Students prepare operatic scenes and arias for presentation in a master-class setting every week. Emphasis is on correct stylistic interpretation and performance practice in each stylistic period of opera history, from Monteverdi to recent works. Repertoire is assigned according to each participant’s needs and abilities.

    Credits: 2

    Department: Classical, Voice
    MPE 5260: Opera Coaching

    Private weekly music coachings 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.

    Credits: 1

    Department: Classical, Voice
    MPE 5275: Teaching Techniques for Voice

    A seminar class in the fundamentals of teaching vocal technique. Students learn the physiological and pedagogical fundamentals of the workings of the voice, followed by practical application (working in a classroom setting to recognize and solve various vocal problems).

    Credits: 2

    Department: Classical, Voice
    MPE 5276: Teaching Techniques for Stage

    A seminar class in the fundamentals of stage directing with a practical application of directing opera scenes in MPE 3350/Opera Workshop.

    Credits: 2

    Department: Classical, Voice
    MPE 5295: Jazz Saxophone Doubling

    A comprehensive overview of playing techniques for the common saxophone doubles, especially clarinet and flute. Specifics on embouchures, fingerings, tone production, and performance practice are facilitated by weekly in-class readings of repertoire, études, and technical exercises.

    Credits: 1

    Department: Jazz
    MPE 5410: Guitar Performance Class

    Covers a full range of solo repertoire and performance. Students actively participate in the analytic and critical process for pedagogical purposes.

    Credits: 2

    Department: Classical, Instrumental
    MPE 5420: Harp Performance Class

    A weekly gathering of harpists, providing a forum for performance, discussion, and examination of the many facets of harp technique and interpretation. Repertoire may include solo, chamber, and orchestral works. Audition techniques, performance traditions, and instrument maintenance are also covered.

    Credits: 1

    Department: Music
    MPE 5440: String Performance Class

    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.

    Credits: 1

    Department: Classical, Instrumental
    MPE 5450: Woodwind Performance Class

    Provides an opportunity for students to perform solo and chamber repertoire for their peers in a master-class environment. Supervised by members of the wind faculty, the class is designed to help students develop quality performances and overcome any issues related to performance anxiety. Meets weekly for one and a half hours.

    Credits: 1

    Department: Classical, Instrumental
    MPE 5451: Guitar Ensemble

    Designed for classical guitarists who are interested in gaining ensemble, sight-reading, and arranging skills for guitar ensemble. Students are expected to perform repertoire from the 20th and 21st centuries and create their own arrangements for performance by various combinations, such as a guitar orchestra, duos, trios, and quartets. Strong musicianship skills are required.

    Credits: 2

    Department: Classical, Instrumental
    MPE 5460: Percussion Performance Class

    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.

    Credits: 1

    Department: Classical, Instrumental
    MPE 5465: Brass Performance and Ensemble

    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.

    Credits: 1

    Department: Classical, Instrumental
    MPE 5470: Baroque Keyboard Literature

    Examines music for organ, harpsichord, clavichord, and early piano from 1550 to 1770 by Byrd, Sweelinck, L. Couperin, Buxtehude, F. Couperin, J.S. Bach, and the Bach sons W.F. and C.P.E. Primary source materials include ornamentation and early fingering charts, as well as studies of contemporary music instruction. Outside readings of secondary source materials include Apel and Ferguson. Discussion of in-class performance is integral to the course.

    Credits: 2

    Department: Classical, Instrumental
    MPE 5471: Classical Sonata Literature

    A survey of the piano music of Haydn, Mozart, and Beethoven, including sonatas, variations, and other shorter works. The Classical style is examined in relation to its emergence from the late Baroque era, with special attention given to keyboard technique, instruments of the period, range, and the continued evolution of musical forms.

    Credits: 2

    Department: Classical, Instrumental
    MPE 5472: Romantic Piano Literature

    A survey of piano literature from Beethoven’s late works through the end of the 19th century. Primary focus on the works of Schubert, Mendelssohn, Chopin, Schumann, Liszt, and Brahms, with emphasis on the character piece, new trends in the use of older forms, and developments in timbre and range. Late Romantic composers are examined, focusing on their impact on early 20th-century styles.

    Credits: 2

    Department: Classical, Instrumental
    MPE 5473: 20th-Century Piano Literature

    A survey of piano literature from 1900 to the present. The works of Debussy, Ravel, Scriabin, Prokofiev, Ives, Janacek, Bartok, and Cage are the primary focus, with emphasis on extended techniques, new trends in the use of older forms, and developments in timbre and range.

    Credits: 2

    Department: Classical, Instrumental
    MPE 5480: Piano Performance Class

    Covers the full range of solo repertoire for piano. Students perform and actively participate in the analytical and critical process for pedagogical purposes.

    Credits: 1

    Department: Classical, Instrumental
    MPE 5495: Harpsichord/Fortepiano/Organ Class

    For graduate piano students. An introduction to the techniques of playing keyboard instruments other than the modern piano, and an exploration of the repertoire particular to these instruments. Topics include performance practice, ornamentation, instrument construction, and sound production.

    Credits: 2

    Department: Music
    MPE 5500: Conducting Techniques

    A practical introduction: simple beat patterns with both hands, cues with the left hand, as well as indications for sforzati, cut offs, and lyric gestures. Works from early Haydn to Brahms.

    Credits: 2

    Department: Classical, Classical
    MPE 5510: Conducting Strategies

    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 graduate students concentrating in instrumental or vocal performance.

    Credits: 2

    PREREQ: MPE5500

    Department: Classical, Classical
    MPE 5530: Improvisation for Non-Jazz Majors

    Covers improvisation in every form, including all harmonic progressions and tonalities. It is taught by a jazz pianist who has a clear understanding of classical music and the sensibilities of its players.

    Credits: 1

    Department: Music
    MPE 5550: Jazz Orchestra

    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 graduate jazz studies students.

    Credits: 2

    Department: Jazz
    MPE 5560: Contemporary Ensemble

    Presents the opportunity to study and perform contemporary works by established composers for diverse instruments, in all styles.

    Credits: 2

    Department: Classical, Instrumental
    MPE 5565: Purchase New Music

    Presents the opportunity to study and perform contemporary works by student composers for diverse instruments, in all styles.

    Credits: 2

    Department: Classical, Instrumental
    MPE 5610: Collaborative Piano

    Study of the art of accompanying singers and instrumentalists. Members of the class perform regularly.

    Credits: 1

    Department: Classical, Instrumental
    MPE 5620: Purchase Latin Jazz Orchestra

    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.

    Credits: 2

    Department: Jazz
    MPE 5660: Klezmer Ensemble

    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.

    Credits: 2

    Department: Music
    MPE 5700: Jazz Combos

    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 graduate jazz studies students.

    Credits: 2

    Department: Jazz
    MPE 5750: Purchase Symphonic Winds

    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.

    Credits: 2

    Department: Classical, Instrumental
    MPE 5991: Master's Recital: Classical

    A 60-minute recital of repertoire or original compositions, demonstrating the ability to design and execute a substantial program at a professional level. String players must include a substantial work (from the mid-20th century through the contemporary era) in one of their recitals.

    Credits: 1

    Department: Classical, Classical
    MPE 5992: Master's Recital: Jazz

    A 60-minute recital of repertoire or original compositions, demonstrating the ability to design and execute a substantial program at a professional level.

    Credits: 1

    Department: Jazz
    MPE 5993: Master’s Recital: Studio Composition

    A 60-minute recital and/or recording of original compositions, demonstrating the ability to design and execute a substantial program at a professional level.

    Credits: 1

    Department: Composition Technology
    MPE 5994: Performers Certificate Recital

    A 60-minute recital of repertoire demonstrating the ability to design and execute a substantial program at a professional level.

    Credits: 1

    Department: Music

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    Music History, Theory, and Musicianship

    MTH 5000: Research and Writing for the Modern Musician

    To function creatively in the contemporary music industry, modern musicians need the skills to perform, compose, arrange, record, research, write, and talk about their music. This course helps develop the research, writing, and presenting skills by exploring relevant print and online resources, researching and discussing topics of individual interest, and writing engaging program notes and research papers.

    Credits: 2

    Department: Classical, Classical
    MTH 5005: Harmonic and Contrapuntal Techniques

    A review of species counterpoint. Exploration of canon, fugue, chorale prelude, and variations. Emphasis is on the music of Bach, especially his Well-Tempered Clavier, and on composers just before Bach. Regular written assignments.

    Credits: 2

    Department: Classical, Classical
    MTH 5010: Structure and Analysis

    Analysis of the structure and design of melody, tendency tones, and rhythmic stress; relationship of melody to harmony; serialism; tension, rhythmic units; and techniques of minimalism. From Gregorian chant to Nixon in China.

    Credits: 2

    Department: Classical, Classical
    MTH 5025: Practicum in Music Pedagogy

    MM students selected for the graduate honors program in music prepare five to seven lectures and/or lecture-demonstrations under the direct supervision of the director of graduate studies. Most of these are presented in undergraduate musicology courses at Purchase. One lecture-demonstration is presented in a semiannual honors program show to an audience of faculty, staff, students, and community members. Serves in lieu of one MTH course in the MM curriculum.

    Credits: 2

    Department: Classical, Classical
    MTH 5055: History and Theory of Baroque Performance Practice

    Illustrates the most important principles of Baroque performance practice, from early monody through Bach. The key concepts and skills discussed include special playing techniques, theories of articulation and accentuation, improvisation (including improvised ornamentation), execution of symbolized ornaments, and basso continuo realization. Lectures are enlivened by occasional hands-on exercises.

    Credits: 2

    PREREQ: MTH5000

    Department: Classical, Classical
    MTH 5060: Overview of Performance Practice

    Reviews the main issues involved in the attempt to perform music of the past 500 years in ways that acknowledge the historical realities of the works’ periods of origin. Attention is paid to instruments, textual interpretation, contemporary writings, and performing approaches and conditions.

    Credits: 2

    Department: Classical, Classical
    MTH 5075: Post-Tonal Theory and Analysis

    Students examine and contextualize many of the important works from the Second Viennese School and beyond. Special emphasis is given to the impact of such early 20th-century figures as Schoenberg and Stravinsky, opera, innovations in the work of Oliver Messiaen, and music by living composers. Major political and social changes during the century are factored into the musical discussions.

    Credits: 2

    Department: Music
    MTH 5100: 20th-Century Harmony/Counterpoint

    Intensive study of impressionist and expressionist techniques, plus serialism and pandiatonicism. Excerpts from Debussy, Stravinsky, Schoenberg, Bartok, Stockhausen, Crumb, Penderecki, and Reich.

    Credits: 2

    Department: Music
    MTH 5180: Electroacoustic Music I

    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.

    Credits: 2

    Department: Music
    MTH 5190: Electroacoustic Music II

    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.

    Credits: 2

    PREREQ: MTH5180

    Department: Music
    MTH 5220: Mozart and Da Ponte Operas

    Three of the greatest operas in the history of Western music—Le nozze di Figaro, Don Giovanni, and Così fan tutte—are the product of the collaboration between Wolfgang Amadeus Mozart and Lorenzo Da Ponte. Students analyze these works and gain an understanding of their historical context and why these works, from this unlikely duo, became watershed contributions to the genre of opera.

    Credits: 2

    Department: Classical, Classical
    MTH 5230: The Opera and Vocal Works of Benjamin Britten

    Focuses on the War Requiem and operas by Benjamin Britten. Students engage in a close reading of the texts, participate during class in musical renderings of selected sections, and become familiar with Anglican worship and musical traditions. Central themes, including class conflict, desire, and repression, are discussed when relevant. Substantial outside reading required.

    Credits: 2

    Department: Classical, Classical
    MTH 5240: Bach Cantatas

    Examines secular and sacred cantatas of J.S. Bach, including the four that make up the Christmas Oratorio and the double cantata that was the basis for the now-lost Markuspassion. Topics include symbolism, text painting, neo-Platonism, instrumental concerti and sinfonias in the cantatas, the history of Bach editions, and the light shed on Bach’s attitude towards Judaism in BWV 42.

    Credits: 2

    Department: Classical, Classical
    MTH 5260: Sondheim and American Musical Drama

    A study of Stephen Sondheim as a synthesis of American film, opera, and musical theatre traditions. Formal, motivic, harmonic, and structural analysis of Sondheim’s principal works, supplemented by readings in philosophy, music theory and harmony, and American politics from the 1970s through the present. Extensive viewing outside of class.

    Credits: 2

    Department: Classical, Classical
    MTH 5280: Music Theory for Jazz Graduate Studies I

    Over two semesters, students strengthen their functional understanding of music theory through the lens of jazz music. From its inception roughly 100 years ago to the present day, entirely new harmonic paradigms have been introduced, developed, and used in jazz—and fluency in them is essential. This is the first in a two-course sequence.

    Credits: 2

    Department: Jazz
    MTH 5290: Music Theory for Jazz Graduate Studies II

    Over two semesters, students strengthen their functional understanding of music theory through the lens of jazz music. From its inception roughly 100 years ago to the present day, entirely new harmonic paradigms have been introduced, developed, and used in jazz—and fluency in them is essential. This is the second in a two-course sequence.

    Credits: 2

    Department: Jazz
    MTH 5310: Bridges: The Intersection of Classical and Jazz Piano

    Students explore both the commonalities and differences in jazz and classical piano, gaining versatility and familiarity with more than one genre at the keyboard. Theory is a vital topic: jazz performers study the counterpoint basic to the music of Bach, and classical pianists study jazz harmony to help them develop idiomatic vocabulary.

    Credits: 2

    Department: Music
    MTH 5320: The Magic of the Fugue

    Provides training in composing and analyzing fugues based on teaching methods outlined in The Art of the Fugue (1750) by J.S. Bach. Each lecture illuminates one of Bach’s teaching points and is followed by written assignments. The final exam is the composition of a fugue on a given subject.

    Credits: 2

    Department: Classical, Classical
    MTH 5330: The Analytical Musician

    Demonstrates how analysis of a given work can influence artistic interpretation. Students present their own works alongside research on historical context, the composer’s biography, contemporary style, analysis (formal, harmonic, melodic, contrapuntal), and content. The goal is to understand that complete analysis does not offer a single “correct” interpretation, but rather focuses the creative mind by offering multiple paths towards artistic understanding.

    Credits: 2

    Department: Music
    MTH 5340: World Traditions in Music and Cultures

    A survey course introducing students to the major musical traditions of the world. Topics include structures, scales, instruments, and cultural elements of music from Asia, Africa, Europe, Australia and the Americas, supplemented by historical and contemporary recordings and films.

    Credits: 2

    Department: Music
    MTH 5350: The Musics of China

    Chinese music is surveyed through the lens of geography and time. Students learn to sing Chinese folk songs and experience traditional instruments through writing assignments.

    Credits: 2

    Department: Classical, Classical
    MTH 5360: Late Romantic German Lieder

    A study of Schubert, Schumann, and Wolf settings of Heine, Moericke, and Goethe. Includes text setting techniques (both the meaning and mechanics of poetry), the innovative role of the pianist, and the composer’s ability to portray both physical and psychological journey in the Liederkreis (song cycle).

    Credits: 2

    Department: Music
    MTH 5380: Shakespeare in Verdi

    How does the composer preserve the essential nature of these plays, while conforming to the late 19th-century Italian operatic traditions and (his own) innovations? Shakespeare’s Macbeth, Othello, and Merry Wives of Windsor are examined, comparing them to Verdi’s adaptations of these texts.

    Credits: 2

    Department: Music
    MTH 5540: Topics in Music History

    Provides a contiguous understanding of music history and prepares students for the comprehensive examination. A stream of guided readings and oral reports is designed to help students broaden and deepen their knowledge of the subject. Study groups work together on areas of common interest.

    Credits: 2

    Department: Classical, Classical
    MTH 5570: Improvisation for Classical Musicians

    Students are set on a path of lifelong learning with the goal of being able to improvise in all the genres they perform. Instructors provide a graded series of tasks that begins with rudimentary ornamentation of existing lines and concludes with the improvisation of convincing fantasias, cadenzas, and dance-based pieces. Open to graduate students in the classical instrumental performance, voice/opera studies, and composition concentrations.

    Credits: 2

    Department: Classical, Instrumental
    MTH 5610: The Music of Alban Berg

    An intensive graduate course in the vocal and instrumental music of Berg, examining both his orchestral and previously unpublished early vocal works and his operas Wozzeck and Lulu. Topics include the influence of Freud, Weill’s opera Mahagonny, Berg’s satire of capitalism, the conventions of expressionist cinema, and source study of Wedekind, Brecht, and Pabst. Knowledge of German is helpful.

    Credits: 2

    Department: Classical, Classical
    MTH 5710: Music, Culture, and Ideas

    A survey of traditional and recent perspectives on music as an object of philosophical and cultural inquiry. Questions raised include: Does music have a “metaphysical” nature? Is musical form separable from its emotional or social content? Has the postmodern culture of reproductive media changed the nature of musical experience? What are the causes of stylistic change in the arts?

    Credits: 2

    Department: Classical, Classical
    MTH 5715: Aesthetics of Film Music

    Film music remains on of the least theorized branches of contemporary music. Building on the work of Royal S. Brown, Claudia Gorbman, and Max Winkler, this course explores diegetic vs. nondiegetic scoring, leitmotivic construction, and the genre’s stylistic debts (particularly to Viennese fin de siècle composers). Students view films both in and outside of class and provide analyses.

    Credits: 2

    Department: Classical, Classical

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    Additional Studies

    MUS 5030: Acoustics and Design

    A study of room acoustics and architectural design, along with the underlying math. The objective is for students to gain an understanding of how acoustics work in various venues and the skills to solve problems in their own acoustic environments and to design corrective treatments.

    Credits: 2

    Department: Music
    MUS 5065: Rhythmic Analysis

    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.

    Credits: 1

    Department: Music
    MUS 5250: Chorus

    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.

    Credits: 2

    Department: Classical, Voice
    MUS 5310: Advanced Jazz Arranging I

    Covers advanced arranging concepts in both big bands and small groups, centering on the styles of Thad Jones, Bob Brookmeyer, Gil Evans, and Duke Ellington. Students have opportunities for performance and recordings of their work.

    Credits: 3

    Department: Jazz
    MUS 5320: Advanced Jazz Arranging II

    Covers advanced arranging concepts in both big bands and small groups, centering on the styles of Thad Jones, Bob Brookmeyer, Gil Evans, and Duke Ellington. Students have opportunities for performance and recordings of their work.

    Credits: 3

    Department: Jazz
    MUS 5350: Topics in Jazz Seminar

    Problematic aspects of each student’s playing are remedied through transcription and analysis of solos by master players. Students are assisted in reaching the next level of their playing ability and in developing a passion for life through music.

    Credits: 3

    Department: Jazz
    MUS 5360: Seminar in Jazz Styles

    This seminar focuses on fostering students’ creativity in their original compositions, arrangements, and related original works. These works prepared and presented for live in-class group evaluation.

    Credits: 3

    Department: Jazz
    MUS 5375: Seminar in Studio Pedagogy I

    Practical classroom and tutorial experience in the concepts of teaching. Assignments may include teaching assistantships in theory, ear training, basic keyboard, music history, and recording technology.

    Credits: 2

    Department: Composition Technology
    MUS 5385: Seminar in Studio Pedagogy II

    Practical classroom and tutorial experience in the concepts of teaching. Assignments may include teaching assistantships in theory, ear training, basic keyboard, music history, and recording technology.

    Credits: 2

    PREREQ: MUS5375

    Department: Composition Technology
    MUS 5435: Advanced Music Theory I

    Offers incoming graduate students the opportunity to advance skills in the terminology and application of music theory. Covers musical style and language from the late Renaissance through the end of the Classical period.

    Credits: 2

    Department: Music
    MUS 5440: Advanced Music Theory II

    Offers incoming graduate students the opportunity to advance skills in the terminology and application of music theory. Covers musical style and language from the Romantic period through the 20th century.

    Credits: 2

    Department: Music
    MUS 5455: Topics in Professional Development

    A moderated series of guest lectures that address practical concerns of the professional musician. Topics may include dealing with injuries and injury prevention, tax strategies and tax-related record keeping, advertising and self-promotion in the age of the Internet, travel and airport security issues for the touring musician, and union protections and benefits.

    Credits: 1

    Department: Music
    MUS 5470: New Modalities in Chamber Music

    Examines the varied career paths open to composers and performers in the changing musical ecosystem. Contemporary, classical, jazz and world, indie rock, electronica, multimedia work, and more are explored. Analysis of different artists, ensembles, presenters, and festivals, trips to New York venues, and interviews with leaders in the field provide unique insights. Students create and present a performance project.

    Credits: 2

    Department: Classical, Classical
    MUS 5480: The Art of Programming Music in the 21st Century

    A concert program should be more than a random selection of works. How is a concert program put together? What are the reasons for choosing each piece? Is there an underlying concept or stylistic concern? Are there political issues involved? What are the public-relations ramifications? This course examines the philosophical, aesthetic, and practical considerations in concert programming today.

    Credits: 2

    Department: Classical, Classical
    MUS 5520: Trends in Music in Society

    Students analyze music professions within a wide arts-and-culture context and within the national and international financial and political landscapes, then posit professional growth opportunities.

    Credits: 1

    Department: Music
    MUS 5521: Generating New Opportunities in Music

    Building on MUS 5521 In which professional growth opportunities are identified, students shape and refine their ideas, and build rough business plans.

    Credits: 1

    PREREQ: MUS5520

    Department: Music
    MUS 5522: Establishing a Professional Musical Life

    Addresses taxes, management of debt, unions, gigging, choice of professional location, professional behavior, and networking.

    Credits: 1

    Department: Music
    MUS 5524: Creating and Sustaining a Musical Ensemble

    Many conservatory students form ensembles, which range across all three areas: classical, jazz, and music and technology. Frequently upon graduation, these ensembles attempt to stay together and “make it” in the professional world. Essential skills and knowledge are needed to stand a chance at success. Seasoned professionals who have made this work (and some who have not) teach this course.

    Credits: 1

    PREREQ: MUS5521 And MUS5600

    Department: Music
    MUS 5525: Career Development Skills for Musicians

    Covers how to write effective résumés (for different uses) and cover letters, how to interact with a potential or future employer, interview and audition techniques, and uses of social media for professional purposes.

    Credits: 1

    Department: Music
    MUS 5526: Producing Musical Concerts

    Addresses the complex set of skills needed to successfully produce a concert, including knowing the availability and characteristics of venues, equipment, amplification, programming for different populations, publicity, and audience cultivation.

    Credits: 1

    PREREQ: MUS5521

    Department: Music
    MUS 5527: Studio Teaching for Musicians

    Most graduates of music conservatories earn a substantial portion of their income from teaching, yet know very little about associated business practices. This course teaches students how to establish a private teaching studio (financials, insurance, taxes, scheduling, common practices). It also reviews teaching opportunities and risks in community music schools and for-profit teaching businesses.

    Credits: 1

    PREREQ: MUS5520

    Department: Music
    MUS 5600: Fundraising in Music

    Students learn how to research both public and private grants, the uses and risks of crowdsourcing, and how to begin to build an individual giving plan.

    Credits: 1

    PREREQ: MUS5221

    Department: Music

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