Department of Music

music.unc.edu

LOUISE TOPPIN, Chair

Annegret Fauser, Associate Chair for Academic Studies

Louise Toppin, Associate Chair for Performance, Composition, and Music Education

Professors

Allen Anderson, Mark Evan Bonds, Tim Carter, Annegret Fauser, Tonu Kalam, Mark Katz, James E. Ketch, Susan A. Klebanow, Stefan Litwin, James Moeser, John L. Nádas, Jocelyn Neal, Severine Neff, Donald L. Oehler, Terry E. Rhodes, Louise Toppin, Brooks de Wetter-Smith, Brent S. Wissick.

Associate Professors

Stephen Anderson, David García, Anne MacNeil, Thomas Otten.

Assistant Professors

Juan Álamo, Andrea Bohlman, Evan Feldman, Chérie Rivers Ndaliko, Lee Weisert, Clara Yang.

Clinical Associate Professor

Daniel Huff.

Music Librarian and Adjunct Associate Professor

Philip Vandermeer.

Professor of the Practice

Emil Kang.

Director of University Bands

Jeffrey Fuchs.

Assistant Director of Athletic Bands

Matthew McClure.

Senior Lecturers

Jeanne Fischer, Michael Kris.

Lecturer

Bobb Robinson.

Adjunct Faculty

Robert Anderson, Brandy Binkley, John Brackett, Arsenia Brickley, Laura Byrne, Dan Davis, Derison Duarte, Dave Finucane, Jason Foureman, Pierce Freelon, Sue Klausmeyer, Stephen Levitin, Melissa Zwicker Martin, Amy Mason, Andrew McAfee, David McChesney, Susan Moeser, Andrea Moore, Mérida Negrete, Edmund Paolantonio, Hugh Partridge, John Pederson, Leah Peroutka, Scott Sawyer, Michael Schultz, Timothy Sparks, William Stewart, Stephanie Vial, Ken Weiss.

Professor Emeritus

Jon W. Finson.

Introduction

The Department of Music provides many opportunities to students who wish to study music within a strong liberal arts curriculum. We foster creative endeavor and critical inquiry through courses, ensembles, and lessons that explore music from a variety of perspectives. The department offers both the bachelor of arts (B.A.) and the bachelor of music (B.Mus.) degrees for students majoring in music, and a minor in music for students majoring in other fields. The department also offers many courses and performance opportunities to undergraduates majoring in fields other than music.

Admission

Students are admitted to the B.A. or B.Mus. degree programs through the regular admissions process established by the University. Prospective students intending to major in music are urged to contact the Department of Music for an audition during the year prior to their anticipated enrollment in order to strengthen their application credentials and to compete for scholarships offered by the department, including the prestigious William R. Kenan Jr. Music Scholarship.

Programs of Study

The degrees offered are the bachelor of arts with a major in music and the bachelor of music. A minor in music also is offered. The B.A. requires at least 33 credit hours in music and at least 75 outside the major, with 120 total credit hours in the degree. Given the ample opportunity to explore the breadth of the University's course offerings, many B.A. candidates seek minors in other fields or take on a second major. The B.Mus. is designed for those seeking a degree that offers a more extensive component in performance, composition, or music education; it requires students to complete 63 credit hours in music and at least 54 outside the major for a total of 120 total credit hours.

The department offers a minor consisting of 15 credit hours drawn from a range of academic and performance courses.

The department also offers academic courses designed for nonmusic majors, for which an ability to read musical notation is not required; many of these courses satisfy General Education requirements. In addition, University students may be eligible to take applied lessons in an instrument or voice (subject to a fee; further details are given below) and may participate in the department's performance ensembles (orchestras, choirs, wind ensembles, athletic bands, jazz groups, etc.), in either case for credit. Admission to lessons and ensembles is subject to audition at the beginning of each semester and to availability of places; further details are available from the department office in Hill Hall.

Majoring in Music: Bachelor of Arts

Core Requirements

Additional Requirements

Students pursuing the B.A. in music must complete at least 33 hours in music, which is combined with an additional 87 hours for a total of 120 hours. Students may receive no more than 45 credit hours in music and must complete a minimum of 75 hours of coursework outside music, including all General Education requirements.

Emphases within the Bachelor of Arts in Music Degree

Students working toward the bachelor of arts degree have the option to pursue one or more areas of emphasis in their musical studies. These emphases identify recommended course selections for students who have interests in one or more areas. We suggest nine credit hours of study; students are free to take additional credits.

Composition: MUSC 166 and 266, plus three hours taken from MUSC 239, 331, 332, 338, or an additional semester of MUSC 266

Ethnomusicology: MUSC 234, plus three hours taken from MUSC 146, 147, 148, 258, 269, 286 (in an appropriate topic), 355 (in an appropriate topic), and three hours from performance courses chosen from MUSC 107/207 (in an appropriate repertory), 212.008, 212.009, or 212.012

Instrumental Performance: Three credit hours taken from MUSC103–107 and/or MUSC 203–207, plus three credit hours taken from MUSC 100, 110, 130, 133, 136, 200, 236, or 303–306, plus three credit hours taken from MUSC 163, 166, 168, 233, 269, 286 (in an appropriate topic), 331, 338, 355 (in an appropriate topic), and 471, or additional hours of appropriate MUSC 211–213 ensembles

Jazz Studies: MUSC 135, plus six hours taken from MUSC 145, 163, 263, 265, 280, 355 (in an appropriate topic), 363, 364, or up to three hours of MUSC 211, 212, or 213

Music History: MUSC 355 (in an appropriate topic), plus six hours taken from MUSC 233, 258, 331, 333, 338, or additional semesters of MUSC 355 (in an appropriate topic)

Music Theory: MUSC 232, plus six hours taken from MUSC 166, 239, 331, 332, 333, 338, or 355 (in an appropriate topic)

Musicology: MUSC 355, plus three hours taken from MUSC 331, 332, 333, or 338, and three hours taken from MUSC 234, 258, or additional semesters of MUSC 355

Piano Performance: Three semesters of MUSC 100, plus six hours taken from MUSC 223, 224, 233, or additional semesters of MUSC 100, 200, and/or 300

Popular Music: Six hours taken from MUSC 143, 144, 148, 155, 156, 157, 158, 281, or 333, plus three hours taken from any additional course in the previous list or MUSC 145, 147, 239, 280, 286 (in an appropriate topic), or 355 (in an appropriate topic)

Voice Performance: Two credits of MUSC 202 and two semesters of MUSC 211, plus five hours taken from MUSC 110, 123, 124, 125, 168, 225, 233, additional semesters of MUSC 202, or up to three hours of MUSC 211 or 212

Majoring in Music: Bachelor of Music

Core Requirements

Additional Requirements

Students pursuing the B.Mus. must complete at least 63 hours in music, which is combined with an additional 57 hours for a total of 120 hours. Students may receive no more than 66 credit hours in music and must complete a minimum of 54 hours of coursework outside music, including all General Education requirements.

Students who wish to gain certification to teach music in public schools may take a prescribed course of study as part of the bachelor of music degree and apply to the music education licensure program offered through the School of Education. Admission to the music education licensure program requires a separate application to the School of Education (usually submitted during the spring of the first year) and candidates must meet North Carolina Department of Public Instruction licensure standards and be able to complete the course of study prior to spring of their senior year. Students who complete the program are eligible for North Carolina initial-level licensure.

Emphases within the Bachelor of Music Degree

Students working toward the bachelor of music degree have the option to pursue one or more areas of emphasis in their musical studies. These emphases identify recommended course selections for students who have interests in one or more areas. We suggest 12 credit hours of study; students are free to take additional credits.

Composition: MUSC 307, plus nine hours taken from MUSC 239, 331, 332, 338, 355 (in an appropriate topic), or three additional hours of MUSC 266

Ethnomusicology: MUSC 234, plus six hours taken from MUSC 146, 147, 148, 258, 269, 286 (in an appropriate topic), and 355 (in an appropriate topic), and three hours from performance courses chosen from MUSC 107/207 (in an appropriate repertory), 212.008, 212.009, or 212.012

Instrumental Performance: three credit hours taken from MUSC 303–306, plus three credit hours taken from MUSC 100, 102–107 or 202–207 on a second instrument, or an additional semester of MUSC 303–306, and six credit hours taken from MUSC 163, 166, 168, 233, 269, 286, 331, 338, 355, and 471, or additional hours of appropriate MUSC 211–213

Jazz Studies: MUSC 135, 163, plus six hours taken from MUSC 145, 263, 265, 280, 355 (in an appropriate topic), 363, 364, or three additional hours of an appropriate MUSC 211, 212, or 213

Music Education: MUSC 168, 226, 227, and 228

Music History: MUSC 355 (in an appropriate topic), plus nine hours taken from MUSC 233, 258, 331, 333, 338, or additional semesters of MUSC 355 (in an appropriate topic)

Music Theory: twelve hours taken from MUSC 166, 239, 331, 332, 333, 338, or 355 (in an appropriate topic)

Musicology: MUSC 355 plus three hours taken from MUSC 331, 332, 333, or 338, or additional semesters of 355, plus three hours taken from MUSC 234 or 258, and three hours taken from any of the above courses or from MUSC 233 or 363

Piano Performance: MUSC 300 plus nine hours taken from MUSC 163, 168, 223, 224, 233, an additional semester of MUSC 300, or a maximum of three semesters of MUSC 100.005

Popular Music: six hours taken from MUSC 143, 144, 148, 155, 156, 157, 158, 281, or 333 plus six hours taken from any additional courses in the previous list or MUSC 145, 147, 239, 280, or 355 (in an appropriate topic)

Voice Performance: MUSC 123, 124, 125, and 302, plus six hours taken from MUSC 168, 225, 233, 248, additional semesters of MUSC 110, or an additional semester of MUSC 302

Minoring in Music

The minor in music requires 15 hours as follows:

Individual and Group Lessons

Instruction for academic credit in keyboard, woodwind, brass, percussion, string instruments, and in voice is available to all University students. All lessons are normally offered each semester and are subject to admission and other requirements being met. Group lessons may also be available on selected instruments and in voice.

Studio assignments are based on instructor availability with preference given to music majors (B.A. and B.Mus.). Fees are charged for lessons based on an annual schedule published by the department. Music lesson fees are to be paid during the registration period; if fees remain unpaid, lessons will be discontinued.

All students wishing to enroll for lessons must first gain the permission of the appropriate instructor or area head to register (see the Department of Music's Web site for current information); this will normally involve an audition. Once permission has been granted, the registration process for academic credit is handled by the Department of Music's registrar, who is also responsible for procedures leading to billing and the formal assignment to a teacher.

B.Mus. students whose primary focus is composition will normally take MUSC 130, 133, 166, 230, three semesters of MUSC 266, and two semesters of MUSC 100–107 to fulfill the B.Mus. musicianship requirement.

MUSC 100–115 may be repeated for credit for a degree to a maximum of eight hours; MUSC 200–207 may be repeated for credit for a degree to a maximum of 16 hours; MUSC 300–306 may be repeated for credit for a degree to a maximum of six hours.

With permission from the director of undergraduate studies, students may enroll for individual instruction in other instruments, or class instruction in applied music, depending upon their abilities, needs, interests, and available time.

Ensembles

A variety of department ensembles under MUSC 211–213 are open to all students by audition. Each carries one credit hour per semester and may be repeated for credit for a degree.

B.A. candidates majoring in music must accrue four credit hours in ensembles drawn from MUSC 211 and/or 212. B.Mus. candidates must participate in a total of eight ensembles, at least five of which must be from MUSC 211, the remainder from 211 or 212.

Candidates for the B.A. may count no more than three additional ensemble hours towards their degree as music or general electives; candidates for the B.Mus. may count no more than six additional ensemble hours towards their degree as music or general electives.

Students should check with the appropriate ensemble director for more information concerning requirements and procedures for the auditions, which are typically held during the first week of each semester. Ensemble directors are listed on the department Web site. The department offers the following ensembles:

Brass Chamber Music

Carolina Choir

Chamber Singers

Charanga Carolina

Early Music Ensemble

Gamelan

Global Rhythms

Guitar Ensemble

Jazz Band

Jazz Combos

Marching Band/Pep Band

Men's Glee Club

New Music Ensemble

Percussion Ensemble

String Chamber Music

Symphony Band

Symphony Orchestra

UNC Opera

University Band

University Chamber Players

Wind Ensemble

Women's Glee Club

Woodwind Chamber Music

Honors in Music

Students interested in becoming candidates for a degree with honors in music should read the regulations governing departmental honors in the College of Arts and Sciences, found in the section "Undergraduate Honors" in the front of this bulletin, and should consult the honors advisor of the department toward the end of the sophomore year.

Study Abroad

The department actively encourages students to participate in study abroad programs to pursue their musical and other interests in an international context. The department maintains a strong relationship with King's College London in particular but can facilitate connections with other institutions around the world.

Advising

All majors and minors have an academic advisor in Steele Building. Students are strongly encouraged to meet regularly with their academic advisor and review their Tar Heel Tracker each semester. In addition, the department's advisory team and the director of undergraduate studies work with current and prospective music majors individually by appointment (see "Contact Information" below). Further information on courses, undergraduate research opportunities, the honors program, careers, and graduate schools may be obtained from the department's Web site.

Contact Information

The Director of Undergraduate Studies is Professor Mérida Negrete, CB# 3320, Hill Hall, (919) 962-1039.

For information on scholarships, contact Professor Brent Wissick, CB# 3320, Hill Hall, (919) 962-3763. Web site: music.unc.edu.

Courses in Music

The Department of Music provides the opportunity for any student to engage broadly with music. An ability to read standard musical notation is not normally required to complete the following courses: MUSC 51–65, 89, 121, 141–148, 188, 240, 248, 280–290. Numerous courses in music also fulfill Approaches and Connections requirements; see General Education requirements or ConnectCarolina for more information.

MUSC

51 First-Year Seminar: The Interplay of Music and Physics (PHYS 51) (3). Acoustics and music from a practical standpoint.

52 First-Year Seminar: Building a Nation: The Stage Musicals of Rodgers and Hammerstein, 1942–1949 (3). Oklahoma!, Carousel, and South Pacific in their political, social, and cultural contexts.

53 First-Year Seminar: Rock 'n' Roll: The First Wave, 1955–1964 (3). A sociomusical study of rock 'n' roll in its first decades.

54 First-Year Seminar: Music and Magic (3). The perceived and actual relationships between music and magic in a range of historical periods.

55H First-Year Seminar: A Love Affair in Renaissance Drama and Music (3). Music and drama in Renaissance plays within the pastoral tradition.

56 First-Year Seminar: Early-Modern Court Spectacle (3). Music and spectacle in the late medieval, Renaissance, and baroque courts of Europe.

57 First-Year Seminar: Music and Drama: Verdi's Operas and Italian Romanticism (3). Textual and musical analysis of Verdi's operas (libretto and score) in their sociohistorical contexts.

58 First-Year Seminar: Music in Motion: American Popular Music and Dance (3). A sociological analysis of the repertorial and performative aspects of dance hall/disco.

59 First-Year Seminar: 20th-Century Music and Visual Art (3). The relationship between music and the visual arts in the modernist and postmodernist periods viewed in their historical contexts.

60H First-Year Seminar: American Literature and Its Music (3). Music in, and musical settings of, American literature of the Romantic, modern, and postmodern periods.

61H First-Year Seminar: Reverberations (3). Musical crossovers in world musics and societies.

62H First-Year Seminar: Vienna: City of Dreams (3). Vienna in the early 1900s as a locus for modernism.

63 First-Year Seminar: Music on Stage and Screen (3). Offers tools and techniques for understanding multimedia, staged musical works like opera, musical theater, and film. The goal of the seminar is to develop students' analytical skills in verbal and nonverbal media and to encourage their visualization of the potential and implications of artistic forms and structures.

64 First-Year Seminar: What Is a Work of Art? Listening to Music (3). Musical aesthetics, musical works, and the nature of musical art.

65 First-Year Seminar: Music and Culture: Understanding the World through Music (3). This seminar focuses on the variety of performances presented by Carolina Performing Arts at Memorial Hall. Through attendance at performances and through research on the performing artists and the works being performed, students explore questions such as, How does music reflect culture? How does the culture shape the art form?

89 First-Year Seminar: Special Topics (3). Special topics course. Content will vary each semester.

100 Individual Keyboard Lessons (0.5–1). Individual lessons in piano, organ, or harpsichord. Sections by instructor.

102 Individual Voice Lessons (0.5–1). Sections by instructor.

103 Individual String Lessons (0.5–1). Individual lessons in violin, viola, cello, string bass, harp, or guitar. Sections by instructor.

104 Individual Woodwind Lessons (0.5–1). Individual lessons in flute, oboe, clarinet, saxophone, bassoon, or recorder. Sections by instructor.

105 Individual Brass Lessons (0.5–1). Individual lessons in horn, trumpet, trombone, tuba, or euphonium. Sections by instructor.

106 Individual Percussion Lessons (0.5–1). Sections by instructor.

107 Applied Instruction (0.5–1). Group or individual instruction in a specified instrument offered by the department. Sections by instructor.

110 Group Lessons in Piano (1). Sections by instructor.

111 Group Lessons in Voice (1). Sections by instructor.

112 Group Lessons in Strings (1). Group lessons in violin, viola, cello, string bass, or guitar. Sections by instructor.

113 Group Lessons in Woodwinds (1). Group lessons in flute, oboe, clarinet, saxophone, bassoon, or recorder. Sections by instructor.

114 Group Lessons in Brass (1). Group lessons in horn, trumpet, trombone, tuba, or euphonium. Sections by instructor.

115 Group Lessons in Percussion (1). Sections by instructor.

120 Foundations in Music (3). An introduction to concepts and methods fundamental to the study, practice, and performance of music. The course provides a foundation for undergraduate students interested in the study of music. Students will gain an appreciation for music's significance across repertories and develop the aptitude to think about music in different ways.

121 Fundamentals of Music I (3). Notational and theoretical materials of music, with musicianship skills developed. Intended for the nonmajor who wishes to learn to express musical ideas in clear, correct notational form.

122 Fundamentals of Music II (3). Prerequisite, MUSC 121. A continuation of MUSC 121 with the addition of basic instrumentation and arranging.

123 Diction for Singers I (English/Italian) (1). Corequisite, MUSC 202. Basic principles of diction for singers in English/Italian presented through the use of the International Phonetic Alphabet.

124 Diction for Singers II (French) (1). Prerequisite, MUSC 123. Basic principles of diction for singers in French.

125 Diction for Singers III (German) (1). Prerequisite, MUSC 123. Basic principles of diction for singers in German.

130 Musicianship Skills I (1). Corequisite, MUSC 131 or 131H. Basic musicianship skills, including music notation, basic composition, score analysis, keyboard, sight singing, and ear training.

131 Theory I (3). Enrollment subject to a placement test. An introduction to music theory and analysis for students who intend to pursue a music degree. Course covers basic principles of melody, counterpoint, rhythm, and meter.

132 Theory II (3). Prerequisite, MUSC 131. Prerequisite requires a grade of C or better. A continuation of MUSC 131, covering more advanced topics of melody, harmony, counterpoint, rhythm, meter, and form.

133 Musicianship Skills II (1). Prerequisites, MUSC 130, and 131 or 131H; corequisite, MUSC 132. A continuation of MUSC 130, with emphasis on intermediate-level musicianship skills.

135 Jazz Theory (3). Prerequisite, MUSC 131 or 131H. An introduction to the musical materials of jazz, including chord/scale relationships, functional keyboard skills, and harmonic analysis.

136 Keyboard Skills I (1). Application of music theory to keyboard techniques in playing harmonic progressions, in harmonizing melodies, and in realizing figured bass.

141 Survey of Western Music History (3). May not count for music or general elective credit for music majors. A chronological survey of the history of Western art music from roughly 1500 to the present.

142 Great Musical Works (3). May not count for music or general elective credit for music majors. The study of selected works from the Western art tradition, with an emphasis on critical understanding.

143 Introduction to Rock Music (3). A survey of rock music styles, focusing primarily on the period 1955 to 1990. Music by Elvis Presley, The Beatles, Led Zeppelin, Police, Madonna, and others.

144 Introduction to Country Music (3). A survey and investigation of country music from 1920 to the present. Music of Jimmie Rodgers, Hank Williams, Willie Nelson, Patsy Cline, Garth Brooks, and others.

145 Introduction to Jazz (3). A survey of jazz music from its origins to the present. The course builds skills in critical listening and blends discussion of musical materials and historical and cultural contexts.

146 Introduction to World Musics (3). The study of music in and as culture. Topics may include the performance cultures of Native America, south Asia, Australia, Africa, east Asia, Southeast Asia, Europe, and the Americas.

147 Introduction to Latin(o) American Music (3). An introduction to contemporary Latin(o) American popular music, focusing on how musicians have negotiated an increasingly global popular culture industry.

148 Introduction to Black Music (3). An introduction to black musical cultures with a focus on understanding how music is made within social, geographical, and political contexts. The course includes experiential learning, live concert attendance, and conversations with practicing musicians in various musical traditions.

155 The Art and Culture of the DJ (3). An exploration of the important, often misunderstood role of the DJ in modern musical life, with particular attention to the ways in which DJing challenges traditional notions of music, musicianship, and musical instruments. Guest lectures, demonstrations, and tutorials by visiting DJs form a significant component of the course.

156 Beat Making Lab (3). An introductory hands-on study of the composition of electronic instrumental tracks for hip-hop and dance music. Students make beats, learn about the history and culture of the art form, and examine beat making as a case study in entrepreneurship.

157 Rap Lab (3). A hands-on study of the art of emceeing. Students engage in a rigorous lyricism curriculum, developing the skills to write, recite, and improvise lyrics in live and recorded settings. Students also explore the history of hip-hop culture and analyze the aesthetics of emcees from around the world.

158 Rock Lab (3). An introduction to issues of performance practice in rock music and related styles and genres including, but not limited to, soul, funk, new wave, and punk. Through intensive coaching and rehearsal students learn performance, transcription, arranging, and improvisation.

163 Jazz Improvisation I (3). Prerequisite, MUSC 135. An introductory course in the development of improvisational skills for the jazz idiom. The primary focus is the introduction of nomenclature, the development of basic jazz vocabulary, and the application of this knowledge using basic jazz tune types.

166 Introduction to Composition (3). Prerequisites, MUSC 130, and 131 or 131H. The study of compositional techniques and the development of individual creative styles through imitative and original writing.

167 Instrumentation (3). Prerequisite, MUSC 131 or 131H. Practical exercises in scoring and arranging for various combinations from single instrumental choirs to full concert orchestra, with trial group performances.

168 Basic Conducting (3). Basic conducting techniques, score reading, and music performance evaluation for choral and instrumental groups.

170 Piano Pedagogy/Literature I (3). Prerequisite, MUSC 132 or 132H. Focus is twofold: 1) fundamentals of piano teaching; 2) survey of piano literature.

171 Piano Pedagogy II (3). Intended primarily for B.Mus. students who have taken MUSC 200 for at least four semesters. Problems, materials, and methods in teaching piano to older students of high school and early college age.

188 Introduction to Women and Music (WMST 188) (3). The role of women in performance, composition, patronage, and the music business across a wide range of repertories.

200 Advanced Individual Lessons in Keyboard (2). Advanced individual lessons in piano, organ, or harpsichord. Sections by instructor.

202 Advanced Individual Lessons in Voice (2). Sections by instructor.

203 Advanced Individual Lessons in Strings (2). Advanced individual lessons in violin, viola, cello, string bass, harp, or guitar. Sections by instructor.

204 Advanced Individual Lessons in Woodwinds (2). Advanced individual lessons in flute, oboe, clarinet, saxophone, or bassoon. Sections by instructor.

205 Advanced Individual Lessons in Brass (2). Advanced individual lessons in horn, trumpet, trombone, tuba or euphonium. Sections by instructor.

206 Advanced Individual Lessons in Percussion (2). Sections by instructor.

207 Advanced Applied Instruction (2). Advanced instruction in a specified instrument offered by the department. Sections by instructor.

211 Ensemble I (1). Sections by ensemble: Symphony Orchestra, Band, Carolina Choir, Chamber Singers, Men's Glee Club, Women's Glee Club, Piano Ensemble I, Piano Ensemble II, Collaborative Piano, Guitar Ensemble, Jazz Band.

212 Ensemble II (1). Sections include Opera Workshop, Percussion Ensemble, Gamelan, Charanga Carolina, Global Rhythms.

213 Ensemble III (1). Sections by ensemble: Marching Pep Band, Jazz Lab Band, Chamber Orchestra, University Band, Jazz Combos, Early Music Ensemble, New Music Ensemble, University Chamber Players, String Chamber Ensembles, Woodwind Brass Chamber Ensembles, Brass Chamber Ensembles.

214 Chamber Music (1). Sections by ensemble: University Chamber Players, String Chamber Ensembles, Woodwind Chamber Ensembles, Brass Chamber Ensembles, Jazz Combos, Viol Consort, New Music Ensemble, Charanga Carolina.

223 Piano Literature (1). Prerequisite, MUSC 100 or 200. Survey of keyboard literature from the Baroque era to the present.

224 Piano Pedagogy (3). Prerequisite, MUSC 100 or 200. Problems, materials, and methods of teaching piano to students of all ages.

225 Vocal Pedagogy (3). Prerequisite, MUSC 102 or 202. Practical methodology for teaching voice to students of all experience levels. Topics covered include anatomy, historical pedagogy, national vocal teaching styles, and current trends in voice science.

226 Woodwinds, Brass, Percussion, and Strings Techniques (3). Primarily for students pursing teacher licensure. An introduction to basic performance skills on representative woodwind, brass, percussion, and string instruments.

227 Keyboard, Vocal, and Elementary Music Techniques (3). Primarily for students pursuing teacher licensure. An introduction to basic performance skills in voice and piano, and approaches to teaching elementary music.

228 Principles of Teaching Music (3). Prerequisites, MUSC 226 and 227. A continuation of MUSC 226 and 227, allowing students the opportunity to develop further performance skills and pedagogical techniques in music education. Offered in sections: instrumental, vocal, strings.

230 Musicianship Skills III (1). Prerequisites, MUSC 132 or 132H, and 133; corequisite, MUSC 232. A continuation of MUSC 133, with emphasis on intermediate- to advanced-level musicianship skills.

232 Theory III (3). Prerequisite, MUSC 132. Prerequisite requires a grade of C or better. A continuation of MUSC 132, covering topics including chromatic harmony and form.

233 Studies in Performance Practices (3). Prerequisite, MUSC 252. The study of vocal and instrumental performances practices in specific periods and repertories.

234 World Musics in Theory and Practice (3). Prerequisites, MUSC 120 and 131. Through the use of various ethnomusicological methodologies, students explore a range of non-Western musical systems in their cultural contexts. Topics of study may include aesthetic theories, cultural meaning, and conflict.

236 Keyboard Skills II (1). Prerequisite, MUSC 136. Continues the development of keyboard skills established in MUSC 136.

239 Introduction to Music Technology (3). A practical study of selected aspects of computerized music technology, including one or more of music-notation software, MIDI sequencing, digital sound production and storage, and computer composition.

240 Performance in Southeast Asia: Gongs, Punks, and Shadow Plays (ASIA 240) (3). The study and comparison of contemporary Southeast Asian performance genres (music, theatre, dance, ritual) in historical and cultural contexts.

245 Dance in Indonesia (3). Prerequisite, MUSC 146. This course is concerned with the performance and interpretation of Indonesian dance. It covers three areas of study: practical learning of traditional Indonesian dance repertoire, theoretical analyses and interpretation, and learning the music accompanying the dance.

248 Women in Opera (WMST 248) (3). An examination and exploration of women's changing roles and influence, onstage and behind the scenes, in the history of opera.

251 Studies in Medieval and Early Modern Music (3). The study of music in its historical and cultural contexts in the medieval and early modern eras.

252 Studies in Music History, 1650–1850 (3). Prerequisites, MUSC 132 or 132H, and 133. Music in its historical context from the mid-17th century through the mid-19th century.

253 Studies in Music History since 1850 (3). Prerequisites, MUSC 230, 232 or 232H, and 252. Music in its historical context since the mid-19th century.

254 Studies in Music History I, Antiquity to 1750 (3). Prerequisite, MUSC 131. Permission of the instructor for students lacking the prerequisite. A survey of music's development from antiquity to 1750, in its stylistic, geographical, political, social, and cultural contexts.

255 Studies in Music History II, 1750 to the Present (3). Prerequisites, MUSC 132 and 254. Permission of the instructor for students lacking the prerequisites. A continuation of MUSC 254, surveying music of the period since 1750 in its stylistic, geographical, political, social, and cultural contexts.

258 Musical Movements: Migration, Exile, and Diaspora (3). The musical results of migrations of all types, voluntary or forced, by way of case studies drawn from historical and/or contemporary musics of Africa, the Americas, Asia, and Europe.

263 Jazz Improvisation II (3). Prerequisite, MUSC 163. Continuation of MUSC 163, examining more advanced improvisational techniques, harmonic materials, and compositional tune types.

265 Jazz Composition and Arranging (3). Prerequisites, MUSC 135 and 163. Composing and arranging for small- and large-group jazz ensembles.

266 Composition (3). Prerequisite, MUSC 166. May be repeated for credit. Original compositions in various forms.

267 Orchestration (3). Prerequisite, MUSC 167. Practical orchestral scoring with emphasis on understanding and imitating historical styles from Mozart through Ravel.

269 Music in the Community (3). Connecting academic inquiry in community music with an experiential project in the making, organization, or documentation of music locally.

280 Jazz Innovators (3). May not count for music or general elective credit for music majors. Musical, historical, cultural, and social issues in jazz studied through the examination of innovative and influential jazz artists.

281 Popular Song in American Culture (3). May not count for music or general elective credit for music majors. The relationship between popular song and culture in American society is explored by focusing on an important historical repertoire or interpretive theme.

282 Bach and Handel (3). May not count for music or general elective credit for music majors. The culmination of baroque music, emphasizing Bach's cantatas, concertos, organ music, and instrumental music, and Handel's oratorios and operas, all in their cultural contexts.

283 Haydn and Mozart (3). May not count for music or general elective credit for music majors. The high point in Viennese music of the late 18th century, emphasizing Haydn's symphonies and quartets, and Mozart's operas and piano concertos.

284 Beethoven and His Era (3). May not count for music or general elective credit for music majors. Beethoven's music will be studied in the context of social structures and concepts about artists during his lifetime.

285 Musical Modernism (3). May not count for music or general elective credit for music majors. A study of the work of diverse composers characteristic of music since ca. 1880 viewed in their broader artistic and other contexts.

286 Music as Culture (3). May be repeated for credit if on a different topic. May not count for music or general elective credit for music majors. Music in the framework of its social, political, economic, and cultural contexts.

287 Opera as Drama (3). May not count for music or general elective credit for music majors. An introduction to music as related to drama, especially the development of opera and related genres. Study of selected works from different periods and styles.

288 The Orchestra and Its Music (3). May not count for music or general elective credit for music majors. Study of the symphony orchestra, its instruments, and its historical development from the mid-18th century to the present, and the music it plays, including selected works in a variety of styles.

289 Sounds of War and Revolution (PWAD 289) (3). Music's roles in war and revolution within various political, social, and cultural contexts. Part of the cluster "War, Revolution, and Culture–Transatlantic Perspectives, 1750–1850."

291 Music and Politics (3). The relationship between music and politics studied through a global range of historical and geographical contexts. The course covers specific musical and political manifestations as well as theoretical approaches to the issue.

296 Special Studies for Undergraduates (1–3). Available only to music majors by permission of the director of undergraduate studies. Intensive study on a particular topic under faculty supervision.

300 Advanced Keyboard Lessons and Recital (3). Prerequisite, MUSC 200. Advanced individual keyboard lessons leading to a public recital.

302 Advanced Voice Lessons and Recital (3). Prerequisite, MUSC 202. Advanced individual voice lessons leading to a public recital.

303 Advanced String Lessons and Recital (3). Prerequisite, MUSC 203. Advanced individual string lessons leading to a public recital.

304 Advanced Woodwind Lessons and Recital (3). Prerequisite, MUSC 204. Advanced individual woodwind lessons leading to a public recital.

305 Advanced Brass Lessons and Recital (3). Prerequisite, MUSC 205. Advanced individual brass lessons leading to a public recital.

306 Advanced Percussion Lessons and Recital (3). Prerequisite, MUSC 206. Advanced individual percussion lessons leading to a public recital.

307 Advanced Composition/Recital (3). Prerequisite, MUSC 266. This course is conceived as a culminating project that showcases a student's original musical compositions.

308 Intermediate Lessons in Conducting (3). Prerequisite, MUSC 168. Intermediate conducting for instrumental or vocal ensembles.

309 Advanced Lessons in Conducting (3). Prerequisite, MUSC 308. May be repeated for up to six hours of credit. Advanced conducting for instrumental or choral ensembles.

331 Musical Form and Analysis (3). Prerequisites, MUSC 132 and 232. The study of analytical techniques as applied to significant works of the period.

332 Counterpoint (3). Prerequisites, MUSC 132 and 232. The study of two-, three-, and four-voice counterpoint, for example in the style of Palestrina, Bach, or 20th-century idioms.

333 Analysis of Popular Music (3). Prerequisites, MUSC 132 and 232. Analysis and transcription of blues, rock, ballads, and jazz, with an emphasis on rock music since 1955.

338 Analysis of Music since 1900 (3). Prerequisites, MUSC 132 and 232. The study of analytical techniques as applied to significant works of the period.

355 History and Culture of Music (3). Prerequisite, MUSC 254. Course will address a particular genre, composer, compositional issue, or repertoire, including non-Western and popular musics. Subject matter will vary with the instructor. May be repeated for credit if on a different topic.

363 Studies in Jazz (3). May be repeated for credit if on a different topic. Advanced study on a selected topic in jazz. Topics will vary and may address a particular genre, composer, performance practice, compositional issue, or repertoire.

364 The Summer Jazz Program (3). Lectures on theory and improvisation, small ensemble coaching, and instrument specific master classes in a classroom/lecture format. Intensive listening component through required attendance at four evening concerts. Final public student concert for a community audience. Can be repeated for credit.

390H Honors Seminar in Music (3). Detailed investigation of a specific musical topic from historical and/or theoretical perspectives.

471 Instrumental Performance Repertory (3). Advanced study of selected performance issues. Maybe repeated for credit.

493 Music Internship (3). Permission of the director of undergraduate studies. Internship directly related to the study, practice, or the business of music. Students must complete at least 100 hours and submit a journal and report upon completion of the internship.

691H Senior Honors Thesis in Music I (3). Admission by permission of the honors advisor. Independent study by a student who has been designated a candidate for undergraduate honors in music.

692H Senior Honors Thesis in Music II (3). Prerequisite, MUSC 691H. Continuance and completion of an honors thesis in music.