Department of Music
TERRY ELLEN RHODES, Chair
John Nádas, Associate Chair for Academic Studies
Richard Luby, Associate Chair for Applied Studies
Allen Anderson, Mark Evan Bonds, Tim Carter, Annegret Fauser, Jon W. Finson, Tonu Kalam, James E. Ketch, Susan A. Klebanow, Stefan Litwin, Richard Luby, James Moeser, John L. Nádas, Severine Neff, Donald L. Oehler, Terry E. Rhodes, Louise Toppin, Brooks de Wetter-Smith, Brent S. Wissick.
Stephen Anderson, David García, Mark Katz, Anne MacNeil, Jocelyn Neal, Thomas Otten.
Brigid Cohen, Evan Feldman, Lee Weisert, Felix Woerner, Clara Yang.
Clinical Associate Professor
Music Librarian and Adjunct Associate Professor
Professors of the Practice
Anthony Dean Griffey, Emil Kang.
Director of University Bands
Assistant Director of Athletic Bands
Jeanne Fischer, Michael Kris.
Robert Anderson, Laura Byrne, Dan Davis, Derrison Duarte, Jason Foureman, Sue Klausmeyer, Andrew McAfee, David McChesney, Susan Moeser, Andrea Moore, Mérida Negrete, Edmund Paolantonio, Hugh Partridge, John Pederson, Leah Peroutka, Matthew Savage, Michael Schultz, Timothy Sparks, William Stewart, Thomas Taylor, Yoram Youngerman, Melissa Zwicker Martin.
The Department of Music offers undergraduate programs to students who wish to study music within a strong liberal arts curriculum as well as to those who choose to specialize in composition, history, performance, or theory, or who wish to undertake preparation for graduate training in public school teaching. The department’s graduate program in musicology (M.A. and Ph.D.) is ranked among the highest in the nation.
The bachelor of arts program provides a focus on music in the context of a broad education in the liberal arts, requiring at least 43 credit hours in music and at least 75 outside the major, with 120 total credit hours in the degree. Students completing this degree are prepared for graduate study in music, though many successfully pursue further training and/or employment in professional fields such as arts administration, business, law, librarianship, and medicine. Many B.A. candidates are double majors.
The bachelor of music degree places emphasis on specialized training in music, requiring 66 credit hours in music and 54 outside the major (120 total credit hours). This program is designed for (but not limited to) students who hope subsequently to become music teachers or pursue graduate study in music performance, composition, or research.
Students in both programs may pursue pathways in areas such as composition, jazz studies, music history, music theory, performance, or popular music; further advice is available from the director of undergraduate studies in music.
The department also offers academic courses designed for nonmajors (for which an ability to read musical notation is not required), many of which satisfy various General Education requirements. In addition, any University student 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.
Students are admitted to the various 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 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 Program. Students holding these scholarships are normally required to pursue a major in music (B.A. or B.Mus.) and to participate in specified ensembles.
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 is also offered.
Majoring in Music: Bachelor of Arts
• Music history (12 hours): MUSC 251, 252, 253, and 355
• Music theory (15 hours): MUSC 130/131, 132/133 (a grade of C or better is required), 230/232, and one of MUSC 234, 265, 331, 332, 333, or 338
• Ensemble performance (four hours): Four separate semesters in an appropriate departmental ensemble. See “Individual Applied Instruction and Ensembles” for further explanation of appropriate ensembles.
In addition to completing the core curriculum described above, students pursuing the B.A. program must complete an additional 12 hours of music elective credit. Taken together with the 31 hours required by the music core, students complete a total of 43 hours in music, which is combined with 77 hours outside the department for a total of 120 hours overall. Candidates for the B.A. 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. Only three hours of ensembles additional to the B.A. requirement (four hours) may count for music or general elective credit.
Majoring in Music: Bachelor of Music
• Music history (12 hours): MUSC 251, 252, 253, and 355
• Music theory (15 hours): MUSC 130/131, 132/133 (a grade of C or better is required), 230/232, and one of MUSC 234, 265, 331, 332, 333, or 338
• Ensemble performance (four hours): Four separate semesters in an appropriate departmental ensemble. See “Individual Applied Instruction and Ensembles” for further description of appropriate ensembles.
In addition to completing the core curriculum described above, students pursuing the B.Mus. must complete the following requirements:
• A minimum of 14 hours of applied instruction, and normally 16. This requirement will usually be met by advanced applied lessons drawn from MUSC 200–206 taken over eight semesters (two credit hours per semester). Up to four hours of MUSC 200–206 lessons may be substituted by up to six hours of MUSC 300–306 recitals. Students may petition the director of undergraduate studies to count toward this requirement no more than two hours of MUSC 100–106 applied lessons; to waive one semester of MUSC 200–206 lessons in the case of study abroad or similar experience; or to substitute an approved number of credit hours from MUSC 166, 266, or 309. Additional requirements for applied lesson (such as recital approval) may be specified by the appropriate applied area.
• Four additional separate semesters (or the equivalent) of appropriate departmental ensembles (four hours in addition to the four hours in the music core). See “Individual Applied Instruction and Ensembles” for further description of appropriate ensembles.
• Additional hours of music elective credit for a total of 66 hours of music. Combined with 54 hours outside music, students complete 120 hours overall. All candidates for the B.Mus. must complete 54 hours outside music, including all General Education requirements. Only three hours of ensembles in addition to the B.Mus. requirement (eight hours) may count for music or general elective credit.
Students interested in gaining 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 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.
Minoring in Music
The Department of Music offers a minor in music (15 hours).
• MUSC 121 (three hours; which may be substituted by MUSC 131 plus 130 for qualified students)
• One of MUSC 141–147 or 188 (three hours)
• One of MUSC 240, 248, 280–289, or 363 (three hours)
• The remaining five or six hours are to be taken from other academic MUSC courses, individual applied instruction, or ensembles offered in the department, subject to prerequisites and other admissions requirements, and to the approval of the director of undergraduate studies.
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 section of this bulletin, and should consult the honors advisor of the department toward the end of the sophomore year. Honors thesis courses (MUSC 691H and 692H) count as elective credit in the major. The department has funds to support undergraduate research (defined to include creative activity) that are often used by students for honors theses and similar special studies.
The department actively encourages study abroad and has relationships with numerous institutions that permit students to pursue their musical and other interests in an international context.
The director of undergraduate studies is Professor Evan Feldman, CB# 3320, Hill Hall, (919) 843-7921. For information on scholarships, contact Jeffrey Fuchs, CB# 3320, Hill Hall, (919) 962-5695. Web site: music.unc.edu.
Academic and Practical Courses in Music
The following courses, as well as applied instruction and ensembles (covered separately, below), are among those offered by the Department of Music. Not all of these courses will be offered in a given year or summer session; for further details, consult ConnectCarolina’s Class Search.
An ability to read music notation is not normally required to complete the following courses: MUSC 51–65, 89, 141–147, 188, 240, 248, 280–289. Such ability is also not normally required for admission to MUSC 121.
Note that numerous courses in music also meet General Education requirements.
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.
100–115. See Individual Applied Instruction and Ensembles, below.
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—Musicianship I (3). Corequisite, MUSC 130. Primarily for prospective or actual music majors; other students may enroll by permission of the instructor. Students subject to diagnostic test. An introduction to music theory and analysis for students continuing in music theory core courses. Course also covers contrapuntal writing and principles of harmony and voice leading.
132 Theory—Musicianship II (3). Prerequisites, MUSC 130, and 131 or 131H; corequisite, MUSC 133. Primarily for prospective or actual music majors. A continuation of MUSC 131 covering aspects of diatonic harmony and voice leading.
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.
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.
200–215. See Individual Applied Instruction and Ensembles, below.
226 Winds and Percussion Techniques (3). Primarily for students preparing for admission to the M.A.T. program. An introduction to basic performance skills on representative woodwind, brass, and percussion instruments.
227 Strings, Piano, and Voice Techniques (3). Primarily for students preparing for admission to the M.A.T. program. An introduction to basic performance skills on keyboard, voice, and representative string instruments.
228 Advanced Problems (3). Prerequisites, MUSC 226 and 227. A continuation of MUSC 226/227, allowing students the opportunity to further develop performance skills and pedagogical techniques in music education through intensive study in wind, string, percussion, keyboard, and vocal areas.
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—Musicianship III (3). Prerequisites, MUSC 132 or 132H, and 133; corequisite, MUSC 230. A grade of C or better in each of MUSC 132/132H and MUSC 133 is required. A continuation of MUSC 132/132H covering aspects of chromatic harmony, form, and modulation.
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 132 or 132H, and 133. Through transcription and analysis, students will explore a range of non-Western musical systems. Indigenous aesthetic theories will be used as an aid in interpretation.
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 Music History to 1650 (3). Music in its historical context and the developing musical language from classical antiquity through 1650.
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.
258 Musical Movements: Migration, Exile, and Diaspora (3). Prerequisites, MUSC 132 or 132H, and 133. 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 since 1750 (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.”
296 Special Studies for Undergraduates (3). Available only to music majors by permission of the director of undergraduate studies. Intensive study on a particular topic under faculty supervision.
300–309. See Individual Applied Instruction and Ensembles, below.
331 Form and Analysis (3). Prerequisites, MUSC 230, and 232 or 232H. May be repeated for credit if on a different topic. The study of selected musical repertories.
332 Counterpoint (3). Prerequisites, MUSC 230, and 232 or 232H. 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 230, and 232 or 232H. Analysis and transcription of blues, rock, ballads, and jazz, with an emphasis on rock music since 1955.
338 Analysis of 20th-Century Music (3). Prerequisites, MUSC 230, and 232 or 232H. The study of analytical techniques as applied to significant works of the period.
355 Topics in the History and Culture of Music (3). Prerequisites, MUSC 251, 252, and 253. May be repeated for credit if on a different topic. Topics will vary each semester and may address a particular genre, composer, compositional issue, or repertoire, including non-Western and popular musics.
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.
390H Honors Seminar in Music (3). Detailed investigation of a specific musical topic from historical and/or theoretical perspectives.
471 Instrumental Performance Repertory (3). Available to M.A.T. students only. Advanced study of selected performance issues.
691H Senior Honors Thesis in Music I (3). Admission by permission of the honors advisor to students with a cumulative grade point average of 3.5 or higher. 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.
Individual Applied Instruction and Ensembles
Instruction for academic credit in keyboard, wind, brass, percussion, and string instruments, and in voice is available to University students. Fees are charged for lessons (excluding MUSC 308–309) according to an annual schedule published by the department. Music majors are given priority, but nonmajors are also welcomed, subject to the limits of available faculty time. All students wishing to enroll must first gain the permission of the appropriate instructor or area head to register for applied instruction; this will normally involve an audition. Once permission has been granted, the registration process for academic credit can be done only by the Department of Music’s registrar, who is also responsible for procedures leading to billing and the formal assignment to a teacher.
All students must enroll during the regular University registration period at the beginning of each semester. Music fees are to be paid during the registration period; if fees remain unpaid, lessons will be discontinued.
Individual lessons earn 0.5 or one credit hour per semester (MUSC 100–115; depending on the duration of the weekly applied lesson), two credit hours per semester (MUSC 200–207), or three credit hours per semester (MUSC 300–306, 308–309).
Students pursuing the B.Mus. degree normally enroll for eight semesters of two-credit-hour lessons on their main instrument, encompassing eight semesters of weekly one-hour lessons and a weekly studio class. These lessons are numbered MUSC 200–206; they may be substituted under the terms outlined under “Majoring in Music: Bachelor of Music,” above. With the approval of the director of undergraduate studies, students may declare two main instruments, taking two of MUSC 200–206, or (if both instruments belong to the same area) one of MUSC 200–206 and MUSC 207. MUSC 200–206 are also available to appropriately qualified students pursuing the B.A. degree majoring in music, and also the music minor.
Students pursuing the B.Mus. or B.A. degree who wish to include a recital in their applied study should substitute lessons numbered MUSC 300–306 for their 200–206 lessons. MUSC 300–306 lessons with recital may be taken in up to two semesters during a student’s degree. MUSC 300–306 lessons require six credit hours of the equivalent MUSC 200–206 lessons.
Music majors pursuing the B.A. degree, music minors, and nonmajors, as well as students pursuing the B.Mus. degree wishing to study a second instrument, may enroll for MUSC 100–106 lessons for 0.5 or one credit hours (a 30-minute or one-hour lesson per week), subject to their availability. Students wishing to study two instruments for 0.5 or one credit hours may take two of MUSC 100–106, or (if both instruments belong to the same area) one of MUSC 100–106 and MUSC 107. Group lessons (one credit hour) may also be available on selected instruments (MUSC 110–115).
MUSC 100–115, 200–207, and 300–306 are normally offered each semester and are subject to admission and other requirements being met. MUSC 100–115 may be repeated for credit for a degree (but not within a term) to a maximum of eight hours; MUSC 200–207 may be repeated for credit for a degree (but not within a term) to a maximum of 16 hours; MUSC 300–306 may be repeated for credit for a degree (but not within a term) to a maximum of six hours. In all these cases, repetition is subject to a grade of C or better in the immediately prior enrollment in the course.
A wide variety of department ensembles under MUSC 211–215 is open to all students by audition. Each earns one credit hour per semester and may be repeated for credit for a degree and in some cases within a term. Students should check with the Department of Music’s registrar for more information concerning requirements and procedures for the auditions, which are typically held during the first week of each semester. B.Mus. candidates must participate in at least one appropriate ensemble in each semester of their study at UNC–Chapel Hill up to a maximum of eight semesters, and must accrue eight hours of such ensemble participation in order to graduate. B.A. candidates majoring in music must participate in at least one appropriate ensemble for four separate semesters of their period of study at UNC–Chapel Hill and must accrue four hours of such ensemble participation in order to graduate. “Appropriate” ensembles are normally drawn from sections of MUSC 211. Substitutions by sections of MUSC 212 may be permitted for jazz specialists (Jazz Band); guitarists (Guitar Ensemble); voice students pursuing the B.Mus. degree (UNC Opera; once, or exceptionally twice, within the degree); and pianists (Piano Ensemble I–II and Collaborative Piano). See below for a list of all MUSC 211 and MUSC 212 ensembles.
A music major (B.Mus. or B.A.) may enroll for individual instruction in other instruments, or class instruction in applied music, or other ensembles, depending upon his or her abilities, needs, interests, and available time. Such students, however, may count no more than three additional ensemble hours towards their degree as music or general electives.
Students should note that applied lessons are identified by instrument family (keyboard, voice, strings, woodwinds, brass, percussion) with sections by instructor (details will be available at registration) and that ensembles are identified by category with sections by ensemble. Students should take particular care to enroll for the correct section(s).
Applied Area Heads
Piano Thomas Otten
Strings Brent Wissick
Voice Louise Toppin
Woodwind, Brass, and Percussion Donald Oehler
Directors of Ensembles, etc.
Symphony Orchestra Tonu Kalam
Chamber Orchestra Tonu Kalam
Wind Ensemble Evan Feldman
Jazz Band James Ketch
Brass Chamber Music Michael Kris
Woodwind Chamber Music Donald Oehler
New Music Ensemble Stefan Litwin
String Chamber Music Brent Wissick,
University Chamber Players Donald Oehler
Collaborative Piano Thomas Otten
Athletic Bands Jeffrey Fuchs
Guitar Ensemble William Stewart
Percussion Ensemble Cameron Britt
Symphony Band Evan Feldman
Gamelan Daniel Guberman
Viol Consort Brent Wissick
University Band Matthew McClure
Carolina Choir Susan Klebanow
Chamber Singers Susan Klebanow
Men’s Glee Club Daniel Huff
UNC Opera Terry Rhodes
Women’s Glee Club Sue Klausmeyer
Collegium Musicum Brent Wissick
Charanga Carolina David Garcia
Applied Music Courses
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.
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 Core Ensembles (1). Sections by ensemble: Symphony Orchestra, Wind Ensemble, Symphony Band, Carolina Choir, Chamber Singers, Men’s Glee Club, Women’s Glee Club.
212 Core Ensemble Alternates (1). Sections by ensemble: Jazz Band, Guitar Ensemble, Piano Ensemble I: Duet/Collaborative (corequisite, MUSC 200; may be taken only once), Piano Ensemble II: Vocal/Instrumental Accompaniment (must be preceded by Piano Ensemble I; may be taken only twice), Collaborative Piano (must be preceded by Piano Ensemble I–II), Opera Workshop.
213 Enrichment Ensembles (1). Sections by ensemble: Marching Pep Band, Jazz Lab Band, Percussion Ensemble, Gamelan, Chamber Orchestra, University Band, Jazz Combos, Charanga Carolina, Collegium Musicum, University Chorus.
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.
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.
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.