course description catalog

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EASTMAN SCHOOL OF MUSIC COURSE CATALOG 1 ** I Fall semester / II Spring Semester / S - Summer **

Accompanying 1 Jazz Lessons 29

Accompanying Class 1 Jazz Studies and Contemporary Media 29

Art History 1 Keyboard 33

Arts Leadership Curriculum 2 Lute 36

Applied Music Lessons (Summer) 4 Music History 36

Anthropology 4 Music Education 38

Bassoon 5 Oboe 45

Chamber Music 6 Opera 46

Clarinet 7 Orchestration 47

Composition 7 Organ 47

Conducting 11 Piano 48

Double Bass 14 Piano Class 48

Eastman Initiatives Curriculum 14 Pedagogy 48

English 14 Philosophy 51

Ensemble 16 Piccolo 51

English as a Second Language 18 Percussion 51

Eastman School of Music (Speical Registrations) 18 Performance 51

Ethnomusicology 19 Political Science 52

Euphonium 19 Psychology 52

Flute 20 Study Abroad 52

French 20 Saxophone 53

Film Studies 21 Sacred Music 53

Freshman Writing Seminar 23 Strings 54

German 23 Trombone 54

Guitar Class 24 Theory 54

Guitar 25 Trumpet 59

History 25 Voice 60

Harpsichord 26 Violoncello 60

Horn 27 Viola 61

Harp 27 Violin 61

Humanities 27 Wellness 61

Italian 28 61

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Accompanying

ACM 430

SEC ACCOMPANYING Fall, Spring, Summer (I, II, S-1.5)

Graduate Applied Music Lessons (half -

hour/week): May be used as secondary

instrument elective credit or as part of a

DMA minor. May not be used to fulfill major

lesson requirements, unless specifically

required by the degree program. For

students who enrolled in their current

graduate degree program prior to summer

2009, these lessons carry 2 credits per

semester.

ACM 430A

PRL 1/2 HR ACCOMPANYING Fall, Spring, Summer (I, II, S-2)


hour/week): Us ed to fulfill primary lesson

requirement for graduate students. For



2009, these lessons carry 2.5 credits per

semester.

ACM 460

PRIMARY ACCOMPANYING Fall, Spring (I, II-3)

Graduate Applied Music Lessons (one -



DMA minor. May not be used to fulfill

ma jor lesson requirements, unless

specifically required by degree program.

For students who enrolled in their current



semester.

ACM 460A

PRIMARY ACCOMPANYING Fall, Spring (I, II-4)


hour/week): Used to fulfill primary lesson





semester.

Accompanying Class

ACY 100

STUDIO ACCOMPANYING Fall, Spring (I, II-1)

Studio Accompanying: For this

requirem ent, all BM Applied Music piano

ma jors accompany two (2) fellow students

of their choice (one vocalist and one

instrumentalist) per semester, normally in

their sophomore, junior, and senior years,

totaling 6 semesters at the end of their

bachelor's degree. Pianists will learn

valuable collaborative skills through

accompanying weekly lessons, regular

studio & master classes, juries, and recitals

for each of their partners.

ACY 100G

STUDIO ACCOMPANYING:

GRADUATE Fall, Spring (I, II-0)

For this requirement, all MM PRL piano

majors accompany two (2) fellow students

of their choice (one vocalist and one

instrumentalist) per semester. Registration

for this course is required for MM PRL piano

majors during each semester in residence,

up to a nd including four semesters. Studio

Accompanying and Orchestral Keyboard

Graduate Assistants are exempted from

this course.

ACY 201

ACCOMPANYING CLASS Fall (I-2)

A course designed to introduce the ESM

undergraduate piano performance major

(BM AMU) to t he basics of ensemble with

singers. Standard repertoire will be studied

and the course will culminate in a class

recital. Not open to graduate students.

Prerequisites: KBD 111 and 112 and junior

standing.

ACY 202

ACCOMPANYING CLASS Spring (II-2)

A course designed to introduce the ESM

undergraduate piano performance major

(BM AMU) to the basics of ensemble with

one other instrument. Standard string and

wind repertoire will be studied, and the

course will culminate in a class recital. Not

open to gr aduate students. Prerequisites:

KBD 111 and 112 and junior standing.

ACY 405

OPERA COACHING Fall (I-1)

Study of the practical skills needed to

coach opera singers and to prepare the

pianist to work in a professional operatic

environment. Arias and sce nes from

standard repertoire ranging from Mozart to

present day will be selected. Special

attention given to unique challenges of the

lyric theater: stylistic interpretation of

accomp anied and secco recitative, the

basics of vocal ornamentation as it appli es

to the stage, the creative realizing of pian o

transcriptions of orchestral

accompaniments, playing conducted

rehearsals, e tc. Prerequisite: permission of

the instructor. Strong interest in languages

recommende d. May be repeated for

credit.

ACY 415A

ENGLISH LYRIC DICTION Fall, Spring (I, II-1)

Study of the basic rules of English lyric

diction. Preparation and performance of

English texts in musical settings. Intended

for graduate piano accompanying majors;

others by permission of instructor.

ACY 415B

GERMAN LYRIC DICTION Fall, Spring (I, II-1)

Study of the basic rules of German lyric


German texts in musical settings. Intended



ACY 416A

FRENCH LYRIC DICTION Fall, Spring (I, II-1)

Study of the basic rules of French lyric


French texts in musical settings. Intended



ACY 416B

ITALIAN LYRIC DICTION Fall, Spring (I, II-1)

Study of the basic rules of Italian lyric


Italian texts in musical settings. Intended for

graduate piano accompanying majors;


ACY 590

INDEPENDENT STUDY Fall, Spring, Summer

ACY 596

DMA DISSERTATION PROJECT Fall, Spring, Summer (I, II, S-credit to be

arranged )

DMA Dissertation Project

Art History

AH 201

HISTORY OF AMERICAN ART Fall, Spring (I, II-3)

This survey of American art covers stylistic

developments in painting, sculpture, and

architecture. Essays presenting specific

case studies illustrate the ways in which

different approaches, omitted artworks,

and in -depth engagements with single

works can cha nge our understanding of

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the narrative of American art. In addition

to the broad themes of American art,

students will learn a basic art historical

vocabulary and examine different art

historical approaches.

AH 213

HISTORY OF WESTERN ART Fall, Spring (I, II-3)

Survey of works of Western art in the years

1300-1950. Emphasis is placed on

developing a vocabulary for the effective

description and analysis of art. Other

themes considered include patterns of

patronage; the interrelationship of art with

music, literature, technology, religion, and

popular culture; and the changing

dynamics of women as both subject and

artist.

AH 221

AFRICAN-AMERICAN ART Fall, Spring (I,II-3)

This course surveys African -American art,

including decorative arts created by

slaves, mainstream nineteenth -century

artists, the Harlem Renaissance and the

New Negro movement, the Black Art

movement, postmodern art, and

contemporary art. We will read pri mary

sources ranging from W.E.B. Du Bois and

Alain Locke to Romare Bearden and

Elizabeth Catlett. Central topics will

include the conditions of artistic practice,

the relationship to the overall narrative of

American art, and the art historical

reception of African -American art. Cross -

listed as AAS 282 (College).

AH 242

ARCHITECTURE AMERICAN

HOUSES Fall, Spring (I, II-3)

As an icon in American culture, the house is

an object rich with social significance.

Houses can tell us about the economic

developm ent of America,

the structure of the American family, the

relationship of work to home, and the

development of the American city. We will

look at the diverse housing types

Americans have developed to express

their social goals, such as southern

plantatio ns, urban row houses, rural villas,

model homes, residential hotels,

tenements, the post -war suburban home,

housing projects, and New Urbanism

houses.

AH 244

MODERN ARCHITECTURE Fall, Spring (I,II-3)

Modern Architecture: This course provides

an intr oduction to modern architecture

starting with its nineteenth -century roots

and continuing to the present day. We will

explore the impact of technological,

economic, political, and social change on

architecture, as well as study major figures

of modern arc hitecture like Le Corbusier,

Mies van der Rohe, and Frank Lloyd Wright.

AH 250

HISTORY OF PHOTOGRAPHY Fall, Spring (I, II-3)

Since its introduction in 1839, photography

has been an important visual medium. This

course will examine changing technical

processes and their aesthetic implications;

debates about the nature of photography;

photography s relationship to other artistic

media; and different contexts in which

photography has been used, like art,

science, social sciences, colonialism, social

advocacy, print media, and

postmodernism.

AH 281

TOPICS IN THE VISUAL ARTS Fall (I-3)

Topics vary from year to year. May be

repe ated for credit.

AH 282

TOPICS IN THE VISUAL ARTS Spring (II-3)

Topics vary from year to year. May be

repeated for credit.

Arts Leadership Curriculum

ALC 211

ENTREPRENEURSHIP IN MUSIC Fall, Spring (I, II-1)

Topics vary by semester and may be half -

semester (early or late semester) or full

semester courses.

ALC 211K


Entrepreneurship in Music: Topics vary by

semester and may be half -semester (early

or late s emester) or full semester courses.

ALC 212




or late semester) or full semester courses.

ALC 212K


Entrepreneurship i n Music: Topics vary by



ALC 221

LEADERSHIP AND

ADMINISTRATION Fall, Spring (I, II-1)

Topics vary by semester and m ay be half -


semester courses.

ALC 221K

LEADERSHIP AND


Leadership and Administration: Topics vary

by semester and may be half -semester

(early or late semester) or full seme ster

courses.

ALC 222

LEADERSHIP AND




semester courses.

ALC 231

PERFORMANCE Fall, Spring (I, II-1)



semester courses.

ALC 231K




semester courses.

ALC 232




semester courses.

ALC 241

CONTEMPORARY ORCHESTRAL

ISSUES Fall, Spring (I, II-1)



semester courses.

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ALC 251

THE HEALTHY MUSICIAN Fall, Spring (I, II-1)



semester courses.

ALC 252

THE HEALTHY MUSICIAN Fall, Spring (I,II-2)



semester courses.

ALC 280

ARTS LEADERSHIP INTERNSHIP Fall, Spring

Required for ALP Certificate S tudents /

Scheduling flexible. Open to Arts

Leadership Program (ALP) certificate

candidates only, the Catherine Filene

Shouse Arts Leadership Program internship

places ALP certificate candidates in

internships designed to expose them to

extra -musical tools and information that

include the cultivati on of self -management

skills and an awareness of the current

climate for the arts in America. In addition

to helping prepare our students to function

focus on the communi ty by supplying

local, national and international arts

organizatio ns with high quality interns.

Limited to 2 credits maximum towards

certificate requirement.

ALC 411





All graduate students can take ALP courses

for free by registering at the ALC 400 level.

Graduate students in certain instances

may also wish or be required to reg ister for

other than the ALC 400 level and pay

regular tuition charges. For additional

information on this policy and further

details on whether or not a course may be

used to fulfill certificate, diploma, or

degree requirements , please see the ALP

website at

http://www.esm.rochester.edu/iml/alp/gradpolic

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ALC 411K




semester courses. All graduate students

can take ALP courses for free by registering

at the ALC 400 level. Graduate students in

certain instances may also wish or be

required to register for other than the ALC

400 level and pay regular tuition charges.

For additional information on this policy

and further details on whether or not a

course may be used to fulfill certificate,

diploma, or degree requirements , please

see the ALP website at


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ALC 412








may also wish or be required to register for






degree requi rements, please see the ALP

website at


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ALC 412K


Entrepreneurship in Music: Topics v ary by






may also wish or be required to reg ister for






degree requirements, please see the ALP

website at


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ALC 421

LEADERSHIP AND













diploma, or degree requirements, please



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ALC 421K

LEADERSHIP AND


Leadership and Administration: Topics vary

by semester and may be half -semester

(early or late semester) or full semester

courses. All graduate students can take

ALP courses for free by registering at the

ALC 400 level. Graduate students in certain

instances may also wish or be required to

register for other than the ALC 400 level

and pay regular tuition charges. For

additional information on this policy and

further details on whether or not a course

may be used to fulfill certificate, diploma,

or degree requirements, please see the

ALP website at


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ALC 422

LEADERSHIP AND


Topics vary by semester and may be

half -semester (early or late semester) or full













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ALC 431











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ALC 431K
















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ALC 432



semester (early or late semester) or f ull


can take ALP courses for free by re gistering







course may be used to fulfil l certificate,




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ALC 441

CONTEMPORARY ORCHESTRAL

ISSUES Fall, Spring (I, II-1)















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ALC 451
















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ALC 452
















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ALC 480

ARTS LEADERSHIP INTERNSHIP Fall, Spring

Required for ALP Certificate S tudents /

Scheduling flexible. Open to Arts

Leadership Program (ALP) certificate

candidates only, the Catherine Filene

Shouse Arts Leadership Program internship

places ALP certificate candidates in

internships designed to expose them to

extra -musical tools and information that

can only

settings. Benefits to the student

include the cultivation of self -management

skills and an awareness of the current

climate for the arts in America. In addition

to helping prepare our students to function

focus on the community by supplying

local, national and international arts

organizations with high quality interns.

Limited to 2 credits maximum towards

certificate requirement.

Applied Music Lessons-

SUMMER

AMU 130

UNDERGRADUATE APPLIED

LESSON Summer (S-2)

Undergraduate Applied Music Lessons :

(half -hour/week): Use to fulfill secondary

instrument requirement or elective.

AMU 430

GRADUATE APPLIED LESSON Summer (S-1.5)





lesson requirement, except for MM

Conductors who are required to take 4

credits of applied mus ic. For students

who enrolled in their current graduate

degree program prior to summer 2009,

these lessons carry 2 credits per semester.

AMU 430A

GRADUATE APPLIED LESSON:

PERFORMANCE Summer (S-2)


hour/week): Half -hour lessons in your

primary instrument major may be taken

only with permission of the Associate Dean

for Graduate Studies. For students who

enrolled in their current graduate degree

program prior to summer 2009, these

lessons carry 2.5 credits per semester.

Anthropology

ANR 110

RELIGIONS OF THE WORLD Fall, Spring (I, II-3)

An introduction to world religions,

examining the responses of world religions

as well as smaller, local traditions to

fundamental questions like the following:

What is the relation of the individual to the

divine? Is the religious life best live d in the

world or apart from it? Are humans

inherently good or bad? What is the

relationship of humans to nature? We

reflect on i nfluences that draw people to

new religions and elements that allow

traditions to endure. The course helps

students to better understand their own

worldviews by exposing them to

contrasting perspectives across the globe.
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ANR 210

MEANING IN EVERYDAY LIFE Fall, Spring (I, II-3)

Art, music, and religion all give life meaning

in special and dramatic ways. However,

the world of our everyday lives is also filled

with meanings that are reflected and

amplified in a culture's great art forms and

religious ideas . We leave the grand visions

of high culture aside and examine the

ordinary meanings of everyday life. These

meanings tend to be invisible; being

accustomed to them, we think of them as

normal. They appear to us simply as reality.

We will take a close look at every day

"realities." We examine the ways in which

people use time and space and how they

think about human relationships, nature,

death, and what it means to a person. This

allows students to understand their own

culture more deeply as well as learn about

others.

ANR 220

THE NATURE OF LOVE Fall, Spring (I, II-3)

We think of love as the most personal of

emotions, yet our private experiences of

love and the way these can be enacted

are influenced by biology, by social life , by

cultural images and family expectations. In

this course, we will consider love from

many points of view, drawing on

evolutionary theory, psychology,

anthropology, and literature. We will

examine ways in which love and courtship

take place in a variety of societies, and will

look at the definitions and expressions of

love in Asian as well an Eu ropean and

American contexts.

ANR 230

IMAGINING INDIA Fall, Spring (I, II-3)

As a place with its own highly civilized and

an exotic tradition, India has captured the

imagination of many. This course gives us

an understanding of this distant, complex

and varied land, and in so doing will show

us how societies can be conceived in

terms very different from our own. More

importantly, it shows us how different

perspectives reveal different aspects of a

society. Here, we will read ethnographies,

novels, and autobiographies by indigenous

South Asian authors and by foreigners,

thinking carefully along the way about

what informs their point of view as well as

what they reveal about India.

ANR 240

WOMEN AND RELIGION Fall, Spring (I, II-3)

A study of conceptions of women

embodied in the imagery of various

religious traditions, the role of women in

worship, and the impact of religious

traditions on feminine experience and

social definitions of gender roles. For each

region, we consider both r eligious doctrine

and the lives of women in the context of

societies holding to these religious beliefs.

Cross-listed as WST 240.

ANR 250

CULTURE AND

COMMUNICATION Fall, Spring (I, II-3)

A study of the nature of human

communication. Topics include whet her

there are universals in the way humans

communicate; how language shapes

understanding of the world; how people

use communication to establish, maintain,

or challenge power relations; and how

gender influences communication. We

also explore specific for ms of artisti c and

religious communication.

ANR 260

RELIGION AND CULTURE Fall, Spring (I, II-3)

This course will examine the social and

cultural circumstances that give rise to

religious fundamentalism, explore the

reasons for its attraction to adherents, and

look at its contrasts with other forms of

religious practice. Readings will focus on

Christianit y and Islam. Analytic readings,

weekly papers, and a final project will be

required.

ANR 280

APPROACHES TO

ETHNOGRAPHY Spring (II-3)

Approaches to Ethnography: Ethnography

offers a window into a variety of cultural

worlds, and provides the foundation for

theorizing in anthropology and in related

disciplines like ethnomusicology. In this

course, we will examine ways in which

anthropolog ists conduct ethnographic

research and write ethnography. We will

look at a range of analytic and interpretive

approaches to ethnography, learn

fundamental techniques for conducting

ethnographic research, and consider

ethical aspects of such work, explorin g

contemporary debates about the practice

and production of ethnography. Cross -

listed as ETH 480.

ANR 281

TOPICS IN ANTHROPOLOGY

AND RELIGION Fall (I-3)

ANR 282

TOPICS IN ANTHROPOLOGY

AND RELIGION Spring (II-3)

Bassoon

BSN 130

SEC BASSOON Fall, Spring, Summer (I, II, S-2)

Undergraduate Applied Music Lessons



BSN 160

PRIMARY BASSOON Fall, Spring (I, II, S-4)


(one -hour/week): Use to fulfill primary

lesson requirement.

BSN 430

SEC BASSOON Fall, Spring, Summer (I, II, S-1.5)










semester.

BSN 430A

PRL 1/2 HR BASSOON Fall, Spring, Summer (I, II, S-2)






2009, these l essons carry 2.5 credits per

semester.

BSN 460A

PRIMARY BASSOON Fall, Spring (I, II-4)







semester.

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Chamber Music

CHB 181

INTRO TO WOODWIND QUINTET

SEMINAR Fall (I-1 cr., 2-semester course)

Intro to Woodwind Quintet Seminar:

Required of all first -year flute, clarinet,

oboe, bassoon and horn performance

majors. This course serves as in introduction

to chamber music at the Eastman Sch ool.

CHB 182

INTRO TO STRING QUARTET

SEMINAR Spring (II-1 cr., 2-semester course )

Intro to String Quartet Seminar: Required of

all first-year violin, viola and cello

performance majors, this course serves as

in introduction to chamber music at the

Eastman School. Taught by the members

of the Ying Quartet, classes consist of

individual coachings, masterclasses,

lectures, and demonstrations and cover a

wide range of topics foundational to

ensemble playing. Quartets and repertoire

are assigned by the ins tructors and rotate

by unit to cover the major stylistic periods

from Haydn and Mozart through the 20th

century. Each unit culminates in a public

class recital.

CHB 232

VOICE REPERTOIRE JUNIOR Spring (II-2)

A two -semester chronological survey of the

most important vocal repertoire for the

recital & concert stage from Caccini to the

present. In -class performance is

emphasized in combination with outside

listening & reading. Languages covered

include Italian, En glish, German, & French.

At the discretion of the applied teacher &

the advisor, qualified students may begin

CHB 232 in the sophomore year. Designed

for applied majors in voice. Open to other

majors by permission.

CHB 233

VOICE REPERTOIRE SENIOR Fall (I-2)




present. In -class performance is


listening & reading. Languages covered

include Ita lian, English, German, & French.

At the discretion of the applied teacher &

the advisor, qualified students may begin

CHB 232 in the sophomore year. Designed

for applied majors in voice. Open to other

majors by permission.

CHB 277

BAROQUE CHAMBER MUSIC Fall, Spring (I, II-1)

Study and performance of the chamber

music repertoire of the 17th and 18th

centuries for strings, winds, harpsichord,

voice and organ. The class is divided into

several smaller ensembles with weekly

coachings. Four specific topic cl asses

regarding style and interpretation are also

included. Performers on both modern and

period instruments are welcome. Keyboard

players must be able to play from figured

bass; harpsichord experience is preferred.

(Prerequ isite for keyboard players: KBD

443 Keyboard Continuo Realization or

permission of the instructor.)

CHB 281

DUO PIANO SEMINAR Fall (I-1 cr. each, 2 -semester course)

The Duo Piano Seminar is designed for both

undergraduate and graduate piano

performance majors and offers an in -depth

study of both four -hand and two -piano

repertoire. The class combines weekly

coachings with frequent masterclasses with

the ESM piano facul ty. Over the course of

the semester, each duo must learn and

prepare for performance one major work

from the two -piano/four -hand repertoire.

The course ends with a final performance

by all the duos in Kilbourn or Hatch Hall.

CHB 282

DUO PIANO SEMINAR Spring (II-1 cr. each, 2 -semester course)







the ESM piano faculty. Over the course of





by all the duos in Ki lbourn or Hatch Hall.

CHB 284

VOCAL CHAMBER MUSIC Fall (I-1)

Introduction to basic vocal chamber

repertoire. Attention given to ensemble

rehearsal techniques, tuning and style.

Repertoire chosen to suite voice types

registered. Voice teacher's approv al

required for singers. Instrumentalists

approved by chamber music coordinator.

CHB 290

INDEPENDENT STUDY Fall, Spring

CHB 401

INSTRUMENTAL SONATA & DUO

RE Fall (I-2)

Intensive study of special topics from the

instrumental & piano duo repertoire,

selected at the beginning of the semester

by the class. Open to graduate pianists,

strings, & winds. Prerequisite: permission of

instructor. May be repeated for credit.

Offered every other year, alternating with

6CHB 403.

CHB 402

VOICE REPERTOIRE FOR PIANIST Fall, Spring (I, II-2)

An in -depth examination of specific areas

of the vocal non -operatic repertoire,

including such topics as Baroque style and

ornamentation, twentieth -century

repertoire, musical settings of a particular

poet, comparative settings of the same

poem(s), & neglected repertoire. The class

meets concurrently with CHB 431 or CHB

432 & addresses the repertoire from the

dual perspective of singer & pianist.

Required of master's degree students

majoring in Piano Acc ompanying &

Chamber Music. Elective for DMA students

in the Piano Accompanying & Chamber

Music degree. Open to other keyboard

majors with permission of the instructor.

May be repeated for credit.

CHB 403

PIANO CHAMBER MUSIC

REPERTOIRE Fall (I-2)

Intensive study of chamber music

repertoire in a performance class setting.

The course is team -taught by 2 members of

the performance faculty. Up to 8 pre -

formed groups are accepted. Each of

them must include a pianist, and must

submit their repertoire at the time of

registration. Available to pianists, strings,

winds & voice. Prerequisite: permission of

instructor. May be repeated for credit.

Offered every other year, alternating with

6CHB 401.

CHB 431

VOICE REPERTOIRE Fall (I-1)

A two -semester chron ological survey of the



present. CHB 431 encompasses early

Italian, English, French and German art

_____________________________________________________________________________________________________________________________________________________________________________________________________________________________


song up to circa 1900. CHB 432 continues

from circa 1900 on and includes F rench

melodie and a sampling of Spanish and

Russian songs. In-class performance is


listening & reading. The class addresses the

repertoire from the dual perspectives of

singer & pianist. Required of master's

degree st udents majoring in performance

& literature -voice (two semesters) & in

piano accompanying & chamber music

(as CHB 402-I or II). Open to other majors by

permission of the instructor.

CHB 432

VOICE REPERTOIRE Spring (II-1)




present. CHB 431 encompasses early

Italian, English, French and German art

song up to circa 1900. CHB 432 continues

from circa 190 0 on and includes French

melodie and a sampling of Spanish and

Russian songs. In-class performance is


listening & reading. The class addresses the

repertoire from the dual perspectives of

singer & pianist. Required of master's

degree students majoring in performance

& literature -voice (two semesters) & in

piano accompanying & chamber music

(as CHB 402-I or II). Open to other majors by

permission of the instructor.

CHB 480

GRAD BAROQUE CHAMBER

MUSIC Fall, Spring (0 Credits)

Coaching & performance of chamber

music for strings, piano, winds, & brass.

Includes Music for All performances as well

as in-house public performances.

CHB 481

DUO PIANO SEMINAR Fall (I-1 cr. each, 2 -semester course)







the ESM piano faculty. Over the course of





by all the duos in Kilbourn or Hatch Hall.

CHB 482

DUO PIANO SEMINAR Spring (II-1 cr. each, 2 -semester course)

Coaching & performance of chamber

music for strings, piano, winds, & brass.

Includes Music for All performances as well

as in-house public performances. Within

this course is a special section called the

Graduate Semina r. This section is a

focused experience that is open to any

graduate instrumentalist (string, piano,

wind, brass, percussion or voice) wishing to

pursue an in -depth, pre -professional

chamber music experience, and includes

weekly coachings, group mastercla sses,

seminars on outreach, and other pertinent

performance topics as well as

performances in Kilbourn Hall and

community sites and more. May be

repeated for credit.

CHB 490


CHB 590


Clarinet

CL 130

SEC CLARINET Fall, Spring, Summer (I, II, S-2)




CL 160

PRIMARY CLARINET Fall, Spring (I, II-4)


(one -hour/week): Use to fulfill primary

lesson requirement.

CL 290

CLARINET CHOIR Fall

CL 430

SEC CLARINET Fall, Spring, Summer (I, II, S-1.5)








graduate d egree program prior to summer


semester.

CL 430A

PRL 1/2 HR CLARINET Fall, Spring, Summer (I, II, S-2)






2009, these lessons carry 2.5 credits per

semester.

CL 460A

PRIMARY CLARINET Fall, Spring (I, II-4)







semester.

CL 490

CLARINET CHOIR Fall

Composition

CMP 101

FIRST YEAR MAJOR I Fall (I-3)

Seminar and Master Class in the

Composition of Twentieth -Century Music I:

Composition class including occasional

private lessons and readings of

compositional studies and pieces.

Enrollment is reserved for freshman

composition majors; others may enroll

only by permission of the individual

instructor or by departmental approval.

CMP 102

FIRST YEAR MAJOR II Spring (II -3)


Composition of Twentieth -Century Music II:





composition majors; others may enroll only

by permission of the individual instructor or

by dep artmental approval.

CMP 103

SECOND YEAR MAJOR I Fall (I-3)

Major Requirement: Composition study in

private, weekly lessons. Enrollment is

reserved for composition majors; others

may enroll only by permission of the

individual instructor or by departmental

approval.

_____________________________________________________________________________________________________________________________________________________________________________________________________________________________


CMP 104

SECOND YEAR MAJOR II Spring (II-3)






approval.

CMP 201

THIRD YEAR MAJOR I Fall (I-3)


Composition of Twentieth -Century Music I:





composition majors; others may enroll on ly


by departmental approval.

CMP 202

THIRD YEAR MAJOR II Spring (II -3)


Composition of Twentieth -Century Music II:


private lessons an d readings of



composition majors; others may enroll only


by departmental approval.

CMP 203

FOURTH YEAR MAJOR I Fall (I-3)






approval.

CMP 204

FOURTH YEAR MAJOR II Spring (II-3)






approval.

CMP 212

COMPOSITIONAL PRACTICE

CIRCA 1925-1955 Fall (I-3)

Compositional Practice circa 1925 to 1955:

Offered every other year starting with the

fall term of 2006. A writing and analysis

course dealing with compositional trends in

Europe and America from about 1925 to

1955 as demonstrated in the wo rks of

significant twentieth -century composers

such as Bartok, Berg, Babbitt, Messaien,

Schoenberg, Stravinsky, Varese, Webern,

and others. Class participation, three

compositional projects, and a final exam

are required. Intended for seniors and

graduate students (graduate students

should register for CMP 412); others by

permission of the instructor. May be taken

independently from CMP 213

CMP 213

COMPOSITIONAL PRACTICE

CIRCA 1955-1980 Spring (II-3)

Compositional Practice circa 1955 to 1980 :


spring term of 2007. A writing and analysis



1980 as demonstrated in the works of


such as Adams, Bo ulez, Cage, Carter,

Feldman, Ligeti, Penderecki, Reich,

Stockhausen, Xenakis, and others. Class

participation, two compositional projects,

one aural report, and a final exam are

required. Intended for seniors and

graduate students (graduate students

should register for CMP 413); others by

permission of the instructor. May be taken

independently from CMP 212.

CMP 221

COMPOSITION FOR NON-

MAJORS I Fall, Spring, Summer (I, II, S-2) Composition

for Non -Majors: Composition study

designed for students who are not

composition majors. Teaching occurs

through a combination of private lessons

and class meetings, as appropriate. Open

for enrollment by students of all majors.

CMP 222

COM POSITION FOR NON-

MAJORS II Fall, Spring, Summer (I, II, S-2) Composition





and class meetings, as appropriate. Op en


CMP 223

COMPOSITION FOR NON-

MAJORS III Fall, Spring, Summer (I, II, S-2) Composition




through a combinati on of private lessons



CMP 224

COMP FOR NON-MAJORS IV Fall, Spring, Summer (I, II, S-2) Composition



com position majors. Teaching occurs




CMP 225

INTRO TO COMPUTER MUSIC Fall (I-3)

Introduction to Computer Music

Techniques: Principles of digital (and

analog) recording, editing, signal

processing (sound manipulation), sound

analysis, multi -tracking, mixing,

synchronization and mastering; sound

synthesis techniques; hardware and

software synthesizer and sampler design;

fundamentals of MIDI; MIDI and audio

sequencing; interactive MIDI performance

and compositional techniques;

performance interfaces; music notation

software; the repertoire of computer and

electronic music. Class

lecture /demonstrations are supplemented

by weekly labs and culminate in student

projects.

CMP 226

INTRO TO COMPUTER MUSIC II Spring (II-3)

Introduction to Computer Music

Techniques: Principles of digital (and

analog) recording, editing, signal

processing (so und manipulation), sound

analysis, multi -tracking, mixing,

synchronization and mastering; sound

synthesis techniques; hardware and

software synthesizer and sampler design;

fundamentals of MIDI; MIDI and audio

sequencing; interactive MIDI performance

and co mpositional techniques;

performance interfaces; music notation

software; the repertoire of computer and

electronic music. Class

lecture/demonstrations are supplemented

by weekly labs and culminate in student

projects.

_____________________________________________________________________________________________________________________________________________________________________________________________________________________________


CMP 240

COMPUTER

ENGRAVING/CALLIGRAPHY Fall (I-2)

Computer Engraving and Other Forms of

Calligraphy: This undergraduate course is

open to all students and required of all

undergraduate composition majors. It will

teach the standard notation guidelines

(score layout, cueing of parts, dynamic

and articulat ion placements, stem length,

placement of accidentals, placement and

font size for all words on the score, etc.)

such that students can prepare materials

ready for publication. While this course will

introduce students to the various popular

notation progr ams, it will provide in -depth

instruction about one engraving program,

and it will include several calligraphy

projects. Graduate students should enroll in

6CMP 440.

CMP 244

CHORAL ARRANGING Fall, Summer (I, S-2)

Choral Arranging: Introduces students to

voice types and standard choral

arrangements; provides opportunity for

comp osing and arranging for various

combinations of voice, either

accompanied or unaccompanied.

CMP 250

BASICS OF ORCHESTRATION Spring (II-2)

Basic Orchestration: Basic Orchest ration,

CMP 250, introduces students to the

instruments of the European orchestral

tradition and to the basics of orchestrating

for the woodwind, brass, and string sections

of the modern orchestra. Orchestration

techniques will be studied through the

exami nation of scores from the literature as

well as through the creative appli cation of

writing skills. Prerequisites: TH 102.

CMP 251

INTERMEDIATE ORCHESTRATION Fall (I-2)

Intermediate Orchestration, CMP 251,

introduces students to advanced

techniques of instrumentation and

orchestration in the context of chamber

music. Writing assignments and projects will

be either transcriptions of existing music or

newly composed work. Prerequisites: TH

102 and CMP 250.

CMP 252

ADVANCED ORCHESTRATION Spring (II-2)

Advanced Orchestration, CMP 252, gives

practice in writing for groups of instruments

drawn from the contemporary orchestra,

wind ensemble, and other established

instrumenta l collections. The work will

culminate with writing for full orchestra.

Composition will figure prominently in the

projects and assignments. Prerequisite:

CMP 251.

CMP 290


CMP 291

COMPOSITION SYMPOSIUM Fall (I-1)

Composition Symposium (Undergraduate):

Composition Symposium is a forum for

presentations by guest composers and

other speakers; there are also

presentations and discussions by the

students enrolled in the class. In

preparation for each class meeting,

students will be expected to familiarize

themselves with the available work of our

guest composers, to attend student

composition performances that are the

basis for Symposium discussions, and to

prepare adequately for any special topics

discussion that may b e part of the

schedule.

CMP 292

COMPOSITION SYMPOSIUM Spring (II-1)












basis for Symposium discussions , and to


discussion that may be part of the

schedule.

CMP 293















discussion tha t may b e part of the

schedule.

CMP 294













basis for Symposium discussions , and to



schedule.

CMP 295











guest composers, to attend studen t





schedule.

CMP 296















discussion that may b e part of the

schedule.

_____________________________________________________________________________________________________________________________________________________________________________________________________________________________


CMP 297
















schedule.

CMP 298
















schedule.

CMP 401

ADVANCED COMPOSITION I Fall, Summer (I, S-3)

Advanced Composition I: Intensive work in

free composition for chamber groups and

orchestra. Prerequisite: CMP 204.

CMP 402

ADVANCED COMPOSITION II Spring, Summer (II, S-3)

Advanced Composition II: Continuation.

May terminate with a master's thesis.

Composition 401 and 402 may be

repeated in the second year of the

master's degree program. Prerequisite:

CMP 401.

CMP 412

COMPOSITIONAL PRACTICES

CIRCA 1925-1955 Fall (I-3)

Compositional Practice circa 1925 to 1955:


fall term of 2006. A writing and analysis





such as Bartok, Berg, Babbitt, Messaien,

Schoenberg, Stravinsky, Varese, Webern,

and others. Class participation, three

compositional projects, and a final exam

are required. Intended for graduate

students (undergraduates should register

for CMP 212); others by permission of the

instructor. May be ta ken independently

from CMP 413. Required for all Composition

MM and MA students.

CMP 413

COMPOSITIONAL PRACTICES

CIRCA 1955-1980 Spring (II-3)

Compositional Practices circa 1955 to 1980:


spring term of 2007. A writing and analysis





such as Adams, Boulez, Cage, Carter,

Feldman, Ligeti, Penderecki, Reich,

Stockhausen, Xenakis, and others. Class

participation, two compositional projects,

one aural report, and a final exam are

required. Intended for gra duate students

(undergraduates should register for CMP

213); others by permission of the instructor.

May be taken independently

from CMP 412. Required for all Composition

MM and MA students.

CMP 421

ADVANCED COMPUTER MUSIC I Fall, Summer (I, S-3)

Advanced Computer Music Techniques:

An intensive survey of advanced software -

based techniques of digital recording,

editing, synthesis, analysis and resynthesis,

signal processing, mixing, spatial

localization, ambience and movement,

and current developme nts in the field.

Class lecture/demonstrations are

supplemented by weekly labs and

culminate in st udent compositional

projects. Prerequisites: CMP 225-6 or

equivalent.

CMP 422

ADVANCED COMPUTER MUSIC

II Spring, Summer (II, S-3)

Advanced Computer Music Techniques:

An intensive survey of advanced software -

based techniques of digital recording,

editing, synthesis, analysis and resynthesis,

signal processing, mixing, spatial

localization, ambience and movement,

and current developments in the field.

Class lecture/demonstrations are

supplemented by weekly labs and

culminate in st udent compositional

projects. Prerequisites: CMP 225-6 or

equivalent.

CMP 440

COMPUTER

ENGRAVING/CALLIGRAPHY Fall (I-2)

Computer Engraving and Other Forms of

Calligraphy: This graduate course is open

to all students. It will teach the standard

notation guidelines (score layout, cueing of

parts, dynamic and articulation

placements, stem length, placement of

accidentals, pla cement and font size for all

words on the score, etc.) such that

students can prepare materials ready for

publication. While this course will introduce

students to the various popular notation

programs, it will provide in -depth instruction

about one engrav ing program, and it will

include several calligraphy projects.

Undergraduate students should enroll in

6CMP 240.

CMP 490


CMP 491


Composition Symposium (Graduate):

Composition Sympos ium is a forum for













schedule.

CMP 492








preparation for each class mee ting,



_____________________________________________________________________________________________________________________________________________________________________________________________________________________________





pre pa re adequately for any special topics


schedule.

CMP 493






presentations and di scussions by the










schedule.

CMP 494




presentations by gues t composers and







guest composers, t o attend student





schedule.

CMP 495

MA THESIS Fall, Spring, Summer (I, II, S-credit to be

arranged)

M.A. Thesis: For the Master of Arts degree.

CMP 496

MM THESIS Fall, Spring, Summer (I, II, S-credit to be

arranged )

M.M. Thesis: For the Master of Music

degree.

CMP 501

ADVANCED COMPOSITION III Fall, Summer (I, S-3)

Advanced Composition: Free

composition, with emphasis on works for

orchestra. Limited to candidates for the

doctorate in composition. These courses

may be re peated for additional credit.

Prerequisites: CMP 402.

CMP 502

ADVANCED COMPOSITION IV Spring, Summer (II, S-3)

Advanced Composition: Free

composition, with emphasis on works for

orchestra. Limited to candidates for the

doctorate in composition. These courses

may be repeated fo r additional credit.

Prerequisites: CMP 402.

CMP 590


CMP 591

COMPOSITION SEMINAR Fall (I-3)

Composition Research Seminar:

Seminars on selected topics. Research and

class discussion will focus on technical,

structural, analytical and aesthetic issues

salient or unique t o the selected repertory

under examination - the music of our own

time. Permission of instructor required.

CMP 592

COMPOSITION SEMINAR Spring (II-3)

Composition Research Seminar: Seminars

on selected topics. Research and class

discussion will focus on technical, structural,

analytical and aesthetic issues salient or

unique to the selected repertory under

examination - the music of our own time.

Permission of instructor required.

CMP 595

PHD DISSERTATION PROJECT Fall, Spring, Summer (I, II, S-credit to be

arranged )

PhD Dissertation Project

CMP 596

DMA DISSERTATION PROJECT Fall, Spring, Summer (I, II, S-credit to be

arranged)

DMA Dissertation Project

Conducting

CND 211

BASIC CONDUCTING I Fall (I-2)

Prerequisites: TH 101, 102. Not open to

freshmen. Also requires registration for

CND 211 Basic Conducting Lab.

CND 212

BASIC CONDUCTING II Spring (II-2)

Basic Cond ucting: Prerequisites: TH 101,

102. Not open to freshmen. Also requires

registration for CND 212 Basic Conducting

Lab.

CND 213

INTERMEDIATE CONDUCTING I:

INSTRUMENTAL Fall (I-2)

Intermediate Conducting I (Instrumental):

Further refinement of basic skills.

Introduction to more advanced

techniques of subdividing and compound

meters. Repertoire studied varies from

classical through romantic repertoire. This

is a one year course & must be taken in

sequence: CND 213 Intermediate

Conducting I / CND 214 Intermed iate

Conducting II. Prerequisite is Basic

Conducting or equivalent. Permission of

instructor required.

CND 214

INTERMEDIATE CONDUCTING II:

INSTRUMENTAL Spring (II-2)

Intermediate Conducting II (Instrumental):

More advanced techniques, emphasis on

c ompound meters (study of Stravinsky's

l'Histoire du Soldat), and accuracy of

technique and musicality. This is a one

year course & must be taken in sequence:

CND 213 Intermediate Conducting I / CND

214 Intermediate Conducting II. Permission

of instructo r required.

CND 215

ADVANCED CONDUCTING I:


Advanced Conducting I (Instrumental):

Advanced Conducting is primarily for

conducting majors only. A few exceptions

can be made, on a case by case basis, for

those with prior conducti ng experience

who feel they may want to eventually

pursue a degree in conducting. These

exceptions will be considered only by

audition. For the Advanced Conducting

students, there will be 4 sessions with

Conductors' Orchestra (CO) per semester.

Each studen t will receive approximately 15

minutes of podium time per session.

Preparation for these sessions will be during

the Tuesday class sessions (3:35 - 5:25)

when the advanced students are not

scheduled to conduct CO. Additionally, as

determined by the instructor, there will be

private lessons scheduled at some points

during the semester. PLEASE NOTE:

_____________________________________________________________________________________________________________________________________________________________________________________________________________________________


Permission of instructor required. This course

is not available as an electiv e.

CND 216

ADVANCED CONDUCTING II:


Advanced Conducting II (Instrumental):




those with prior conducting e xperience







Each student wi ll receive approximately 15






determined by the instructor , there will be




is not available as an elective.

CND 223

CHORAL CONDUCTING I Fall (I-2)

Choral Conducting I: Emphasis on

methods and techniques appropriate to

rehearsal and performance of choral

music, on reading and interpretation of

choral scores, and on the development of

a professional cond ucting approach.

Prerequisites: CND 211, 212 (or equivalent)

and permission of the instr uctor.

CND 224

CHORAL TECHNIQUES &

METHODS II Spring (II-2)

Choral Techniques and Methods II: Study

of choral/vocal techniques and methods,

including breath support and control, tone

quality, vowel uniformity, phrasing, score

study, discipline, and o rganization.

Continuation of CND 223.

CND 231

CHORAL LITERATURE I Fall (I-2)

Choral Literature: A comprehensive survey

of choral materials suitable for church,

secondary education, and college

programs. CND 231 surveys repertoire and

performance practice issues from the

middle ages through 1750. CND 232

surveys repertoire and perf ormance

practice issues from 1750 to the present.

Offered in fall semesters, alternating years

between CND 231 and CND 232.

CND 232

CHORAL LITERATURE II Fall (I-2)


of choral materials suitable for church,





surveys repertoire and performance


Offered in fall semesters, alternatin g years


CND 290


CND 415

ADVANCED CONDUCTING I:


Advanced Conducting I (Instrumental):




those with prior conducting experience


pursue a degree in co nducting. These





Each student will receive approximately 15











CND 416

ADVANCED CONDUCTING II:


Advanced Conducting II (Instrumental):


conducting m ajors only. A few exceptions


those with prior conducting experience




audition. For the Advanced Conduct ing



Each student will receive approximately 15



the Tuesday class sessions (3:35 -

5:25) when the advanced students are not







CND 423

CHORAL CONDUCTING II Fall (I-2)

Choral Conducting II: Stu dy of

representative choral and

choral/orchestral works of all periods.

Emphasis is on the interpretation of scores

and the development of refined

profes sional conducting techniques.

Prerequisites: CND 223, 224 (or equivalent)

and permission of the instructor.

CND 424

CHORAL TECHNIQUES &

METHODS II Spring (II-2)

Choral Techniques and Methods II: An

extension of materials covered in CND 224,

designed for the Master of Music degree in

choral conducting.

CND 431

GRAD CHORAL LITERATURE I Fall (I-2)


of choral materials su itable for church,









CND 432

GRAD CHORAL LITERATURE II Fall (I-2)

Grad Choral Literature: A comprehensive

survey of choral materials suitable for

church, secondary education, and college








_____________________________________________________________________________________________________________________________________________________________________________________________________________________________


CND 441

COLLOQUY IN CONDUCTING Fall (I-0.5)

Colloquy in Conducting: Study with various

members of Conducting and Ensembles

Department faculty. This course provides

an opportunity to work with conductors

outside student's own area of expertise.

CND 442

COLLOQUY IN CONDUCTING Spring (II-0.5)






CND 443

COLLOQUY IN CONDUCTING Fall (I-0.5)






CND 444

COLLOQUY IN CONDUCTING Spring (II-0.5)






CND 461

REHEARSAL TECHNIQUES I Fall (I-2)

Rehearsal Techniques I and II:

Concentration on freedom of movement

and manual dexterity along with

development of score study habits. Class

members will prepare musical works from

all periods of orchestral music for in -class

discussion, trial and review. Class study

culminates in the leadership of the

Conducting Orchestra. May be re peated

for credit.

CND 462

REHEARSAL TECHNIQUES II Spring (II - 2)

Rehearsal Techniques I and II:

Concentration on freedom of movement

and manual dex terity along with

development of score stu

course description catalog

Documents