An approach toward intelligent listening, illustrated by recordings. Intended primarily for students who are not music majors. No previous training required. CA 1.

(Also offered as AMST 1002.) Develop an understanding of American people, history and culture through the study and singing of American folk songs. CA 1. CA 4.

An introduction to popular music and diversity in America: jazz, blues, Top-40 pop, rock, hip-hop and other genres. Musicians and their music studied in the context of twentieth-century and contemporary American society, emphasizing issues of race, gender, class, and resistance. No prior musical training or knowledge required. CA 1. CA 4.

Folk, popular, and classical musics of selected non-Western cultures, with an emphasis on the distinctive characteristics of each culture. Intended primarily for students who are not music majors. CA 1. CA 4-INT.

(Also offered as FINA 1001.) A world music vocal ensemble that brings to life the songs of specific cultures as a means to gain knowledge and understanding of communities, culture, spirituality and social justice. CA 1.

Basic skills in note reading, rhythm, meter, pitch symbols, scales, key signatures, intervals, triads, sight singing, and dictation. No previous training is required.

Further development of skills in music reading, sight singing, and dictation.

Music history in relation to other arts from the mid 18th Century to the present. Some background in music fundamentals or performance is highly recommended. CA 1.

Required of all music majors every semester of residence. No credit. Students taking this course will be assigned a final grade of S (satisfactory) or U (unsatisfactory).

Required of all music majors during the first fall semester of residence. Study, rehearsal, audience and technology skills. Students taking this course will be assigned a grade of S (satisfactory) or U (unsatisfactory).

Performance of a repertoire that varies from the traditional calypso and soca styles of Trinidad and Tobago to today's pop music. No previous musical experience required.

Repertoire, rehearsal techniques, preparation and presentation of marching band shows.

Repertory, rehearsal techniques, preparation and presentation of performances in support of the University community.

Repertoire, rehearsal technique, preparation and presentation of concerts. Wind Ensemble, Symphony Band, Concert Band.

Choral repertoire from all periods, concentration on vocal and choral techniques as related to musical styles, preparation and presentation of concerts. Concert Choir, Chamber Singers, University Chorale.

Standard symphonic repertoire, technique of orchestral routine, preparation and presentation of concerts. CA 1.

Chamber music for various combinations of voices, string, woodwind, brass, percussion and keyboard instruments. Preparation and presentation of concerts. Students may register for two or more sections concurrently with consent of instructors. As a requirement for credit, the student must participate in MUSI 1110, 1111, or 1112.

Preparation and presentation of concerts. Gospel and spiritual music of the Black experience.

The preparation, study and performance of large jazz ensemble music, representing a spectrum of styles and periods, as a means to provide understanding of the genre’s historical, social, and cultural contexts. CA 1.

Small ensemble music under the direction of a conductor. Preparation and presentation of concerts. Students may register for two or more sections concurrently with consent of instructors. As a requirement for credit, the student must participate in MUSI 1110, 1111, or 1112.

Performance practices, iconography, notation, instrumentation in vocal and instrumental music before 1700. Preparation and participation in historically authentic performance.

Performance practices. Preparation and participation in scenes from operatic repertoire.

Engagement in the artistic process of performing improvised jazz combo music as a unique, cultural form of human expression. CA 1.

Specific topics taken in a foreign study program. Consent of department head required, normally before the student's departure to study abroad.

Basic performance techniques. Elementary and intermediate repertoire. Primarily for students majoring in another applied area.

Open to qualified students. Before registering for the course, students must obtain an audition with the department and obtain the consent of the department head.

Performance class in accompanying skills.

An introduction to the International Phonetic Association (IPA) symbols with special application to the study of English diction for singers.

A continuing study of the IPA symbols with their special application to the study of Italian diction for singers.

Devoted to the development of musicianship skills, including sight singing, rhythmic reading, melodic and harmonic dictation, and aural comprehension of musical structure.

Devoted to the continuing development of musicianship skills, including sight singing, rhythmic reading, melodic and harmonic dictation, and aural comprehension of musical structure.

Writing and analysis of tonal harmony; relation to melody and counterpoint.

Continuation of MUSI 1313.

Performance and teaching techniques.

Basic jazz theory and the elements of improvisation.

Overview of music education and the total music program, K-12 for music pre-teaching students. Demonstration and discussion of relevant approaches to the teaching of music at all levels. Explores career opportunities in music education and related fields. Includes class observations.

Credits, prerequisites and hours as determined by the Senate Curricula and Course Committee.

A continuing study of the IPA symbols with their special application to the study of German diction for singers.

A continuing study of the IPA symbols with their special application to the study of French diction for singers.

A continuation of MUSI 1222 for students with proven ability.

Vocabulary, methodology and practical application of pedagogical techniques.

One or two instrumental hours per week.

Philosophy, methodology, and practical application of pedagogical techniques for applied music instruction. MUSI 3222 must be taken concurrently.

Foundational solo, chamber, and ensemble repertoire. MUSI 3222 must be taken concurrently.

Devoted to the continuing development of musicianship skills, including sight singing, rhythmic reading, melodic and harmonic dictation focusing on chromaticism, and aural comprehension of musical structure.

Devoted to the continuing development of musicianship skills, including sight singing, rhythmic reading, melodic and harmonic dictation focusing on chromaticism, and aural comprehension of musical structure.

Continuation of MUSI 1314.

Continuation of MUSI 3313.

Aspects of musical structure and style in works from the 17th through the 19th centuries. Application of a variety of approaches to analysis.

Continuation of MUSI 3321. Emphasis on the larger works of the 19th-century and 20th-century styles.

Creative writing in the smaller forms. Extensive analysis and discussion.

Composition by synthesizer and computer.

Through in-class instrument presentations and score study, students will be exposed to concepts and techniques of adapting and scoring music for small and large instrumental and vocal ensembles.

The exploration and application of composition strategies involving the manipulation of form, melody, harmony, and rhythm to create short form works for small group improvisational jazz contexts.

Range, tone quality, and characteristics of the various orchestral and band instruments. Elementary scoring problems.

Two- and three-voiced textures in the principal 16th-century styles: Josquin, Lassus, Palestrina.

Analytical techniques appropriate to selected styles of twentieth century music. Problems in twentieth century counterpoint and composition.

A one-semester survey of the history of Western art music. Active listening and identification of repertory; exploration and interrogation of standard periodization; critical analysis of repertory through theories of gender and/or race; engagement of topics of Self and Other, Europe and non-Europe.

Leading composers, genres, elements of style, form and harmony, musical institutions and aesthetics from 1750 through the New Millennium.

Introduction to the historical, cultural, and musical contexts of jazz as an American art form and global practice. CA 1. CA 4.

An analytical and stylistic study of selected masterpieces of Western music in their musical and broad historical contexts: cultural, social, political, critical, and interpretive.

Relationships of musical styles to cultural and intellectual backgrounds.

Music as a platform of cultural representation through which people challenge imbalances and asymmetries which inform notions of cultural difference in globalization. CA 4-INT.

(Also offered as HIST 3568.) History of hip-hop, its musical antecedents and its role in popular culture. Race, class, and gender are examined as well as hip-hop's role in popular political discourse.

Advanced jazz theory, styles, and ensemble techniques.

Arranging and composition of chamber jazz ensembles and big band.

Continuation of MUSI 3631.

Italian solo vocal music from early Baroque through late Romantic periods, including monody, cantatas, and art songs. Baroque and Classical oratorio in different languages. Taught with MUSI 5310.

German Lieder, from Schubert to serialism. Taught with MUSI 5311.

French mélodie, from Berlioz to Poulenc and beyond. Taught with MUSI 5312.

British and American art song from the early twentieth century through contemporary. Taught with MUSI 5313.

Audio theory and recording in the digital domain for musicians, performers, composers and digital media specialists.

Science of Music, using basic quantitative techniques.

Current approaches to the application of music technology to the task of teaching music in elementary and secondary schools.

Students taking this course will be assigned a final grade of S (satisfactory) or U (unsatisfactory).

Special topics taken in a foreign study program.

Individual instruction in musical composition.

Weekly forum for students enrolled in the composition emphasis to discuss with each other, faculty, and visiting artists topics relevant to the professional development of composers. Topics include various aspects of the business of music, media technology, and score study.

An overview of traditional undergraduate theory. Intended for graduate students in Music.

Sonata, concerto, madrigal, motet, or other musical forms.

A project-oriented approach to bibliographic tools and research methods applicable to the historical study of music.

Physical aspects of conducting, reading of full and condensed scores.

Students taking this course will be assigned a final grade of S (satisfactory) or U (unsatisfactory). Required of all Bachelor of Music performance majors.

Classroom course in a special topic as announced in advance for each semester.