The Graduate School Bulletin
School of Music
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Admissions Information
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Faculty
Overview
Requirements for the Master of Music in Music Education
Requirements for the Master of Music in Music Performance
Accompanying Concentration
Conducting (Choral) Concentration
Conducting (Instrumental) Concentration
Early Keyboard Instruments Concentration
Keyboard Concentration
Piano Pedagogy Concentration
String, Wind, Percussion Concentration
Vocal Pedagogy Concentration
Voice Concentration
Woodwinds Concentration
Requirements for the Master of Music in Music Theory
Requirements for the Master of Music in Composition
Requirements for the Post-Master's Certificate in Music Theory Pedagogy
Requirements for the Doctor of Musical Arts in Performance
Minor in Early Keyboard Instruments
Requirements for the Doctor of Philosophy in Music Education
MUS Music Courses
Faculty
Professors
Kelly Burke, D.M.A., Clarinet (Chair, Instrumental Division).
William P. Carroll, D.M.A., Choral conducting (Associate Dean).
John J. Deal, Ph.D., Music education (Dean).
Joseph DiPiazza, D.M.A., Piano.
Robert Gutter, M.M., Instrumental conducting.
Donald Hartmann, D.M.A., Voice.
Donald A. Hodges, Ph.D., Music education (Director, Music Research Institute).
David Holley, M.M., Voice (Director of Operas).
George Kiorpes, D.M.A., Piano.
Randy Kohlenberg, Ph.D., Trombone.
John Locke, Ed.D., Instrumental conducting (Director of Bands, Director of Summer Music Camps).
David L. Nelson, Ph.D., Music theory.
John Salmon, D.M.A., Piano, jazz.
Paul Stewart, D.M., Piano (Chair, Keyboard Division).
J. Kent Williams, Ph.D., Music theory, computer applications (Chair, Composition, History and Theory Division).
Andrew S. Willis, D.M.A., Piano, fortepiano, harpsichord.
Clinical Professor
Patricia M. Gray, D.M.A., Senior Research Scientist of BioMusic.
Associate Professors
Dennis AsKew, D.M.A., Tuba.
Edward Bach, D.M.A., Trumpet.
Mary A. Barret, D.M.A., Oboe and English horn.
Robert Bracey, D.M.A., Voice (Chair, Vocal Studies Division).
Michael J. Burns, D.M.A., Bassoon.
Guy Capuzzo, Ph.D., Music theory.
Gregory Carroll, Ph.D., Theory, composition, music appreciation.
Gavin D. Douglas, Ph.D., Ethnomusicology.
Deborah Egekvist, D.M., Flute.
Mark Engebretson, D.M.A., Composition, electronic music.
Alexander Ezerman, D.M.A., Cello.
Steve Haines, M.M., Jazz studies.
Andrew Harley, D.M.A., Accompanying, vocal coach.
Elizabeth L. Keathley, Ph.D., Music history.
Carla LeFevre, D.M.A., Voice.
Constance McKoy, Ph.D., Music education.
David B. Nolker, Ph.D., Music education.
Abigail Pack, D.M.A., Horn.
Scott Rawls, D.M.A., Viola.
Patricia Sink, Ph.D., Music education.
Steven Stusek, D.M., Saxophone.
David Teachout, Ph.D., Music education (Chair, Music Education Division).
Nancy Walker, D.M., Voice.
Jennifer L. Stewart Walter, Ph.D., Music education.
Robert A. Wells, D.M.A., Voice, vocal pedagogy.
Welborn E. Young, D.M.A., Choral conducting (Director of Choral Activities).
Assistant Professors
Aaron Allen, Ph.D., Musicology
J. Revell Carr, Ph.D., Ethnomusicology
James Douglass, D.M.A., Accompanying.
Chad Eby, M.M., Jazz studies.
Kevin M. Geraldi, D.M.A., Instrumental conducting (Associate Director of Bands, Director of Orchestras).
Fabian Lopez, D.M.A., Violin.
Rebecca MacLeod, Ph.D., Music education.
Clara O’Brien, M.M., Voice.
Carole Ott, D.M.A., Choral conducting.
Irna Priore, Ph.D., Music theory.
Adam Ricci, Ph.D., Music theory.
Kailan R. Rubinoff, Ph.D., Musicology.
Alejandro H. Rutty, Ph.D., Composition.
Anthony Taylor, D.M.A., Clarinet.
Joan Titus, Ph.D., Musicology.
Lecturers
Craig Brown, B.M., Double bass.
Robert Burns King, M.S.M., Organ.
Mark Mazzatenta, M.M., Guitar, jazz appreciation.
Levone Tobin Scott, M.M., Voice.
Overview
Aspects of Music Study
The School of Music is an accredited institutional member of the National Association of Schools of Music. The requirements for entrance and graduation as set forth in this Bulletin are in accordance with the published regulations of the National Association of Schools of Music. The School of Music is the representative of the state of North Carolina to the National Association of Music Executives in State Universities.
The School of Music enjoys national recognition as a leader in graduate music study. Strong curricular programs support the only Doctor of Musical Arts (in performance, conducting, and accompanying/chamber music) and Doctor of Philosophy (in music education) degrees offered in North Carolina. Within these doctoral programs the student may select, with the approval of the advisory committee, a minor area of study, including the Post-Master’s Certificate in music theory pedagogy. Master’s degrees are offered in performance studies (voice, piano, organ, strings, early keyboard, individual woodwinds, brass, percussion), conducting, vocal pedagogy, piano pedagogy, woodwinds (multiple), and accompanying. In addition, master’s programs are offered in music education, music theory, and composition. A large faculty of outstanding artists, teachers, and researchers supports a comprehensive program of study.
Auditions
Performance auditions/interviews are required for acceptance as a music major and for approval of the area of study. (M.M. in music education applicants may have the audition waived if the transcript shows satisfactory grades and hours in performance studies.) Auditions should be arranged in advance through the office of the Director of Academic Programs in the School of Music, preferably on regularly scheduled audition dates (D.M.A. auditions are scheduled separately). Recorded auditions for provisional admission must be approved in advance by the Director of Academic Programs. A campus audition, however, will be required before full admission to a degree program may be confirmed or for a graduate assistantship. Ph.D. applicants should consult the Director of Graduate Study for specific requirements prior to scheduling an on-campus interview.
Admission Requirements
Admission to graduate programs in music assumes undergraduate and, for doctoral applicants, graduate study appropriate to the proposed graduate program.
Performance Activities
Qualified students may perform as soloists, members of major performance organizations, and chamber ensembles within the School of Music. Students are encouraged to audition for roles/positions as vocalists or instrumentalists in opera and musical theatre performances which the School of Music presents in cooperation with the Department of Theatre. Students are also afforded opportunities to audition for positions in the Greensboro Symphony Orchestra, North Carolina Symphony Orchestra, and for positions as church organists, vocal soloists, and directors.
Recital and Concert Opportunities
The University Concert/Lecture Series and the School of Music bring outstanding artists to campus, many of whom also present master classes or engage in informal musical discussions on campus. Students are invited to attend or participate in the many recitals and concerts given during the year by the School of Music faculty and students.
Facilities
The School of Music occupies a recently constructed, three-level, 130,000 square-foot facility. Located prominently on the corner of Market and McIver Streets, the School of Music is the northeast window to the University. The music building, considered to be one of the largest of its kind in the southeast, is accessed easily from an adjacent parking deck and is within a short walking distance to the central portion of the campus and housing.
The “state-of-the-art” building features a 350-seat recital hall; a 120-seat organ recital hall; instrumental, choral, and percussion rehearsal halls; a unified music library; a computer laboratory; classrooms; seminar-conference rooms; faculty studios/offices; practice facilities; an acoustics research laboratory; a psychoacoustics laboratory; an electronic piano laboratory; electronic music studios, a music education methods room; administrative offices; faculty and student lounges; and storage.
Students in instrumental areas, although encouraged to own the best possible instruments for their personal use, are afforded access to the school’s large inventory of orchestral and keyboard instruments, including a new $400,000 Andover tracker organ with 3 manuals, 35 ranks, and 30 stops.
Performance Studies
Advance approval is required for all registration in performance studies. Inquire with the Associate Dean in the School of Music for additional information.
Student Information Manual
Additional policies and regulations are found in the Graduate Music Handbook. This source is made available to all music students after entrance requirements are met. Adherence to the contents of this publication is the responsibility of the student.
Requirements for the Master of Music in Music Education (34 hours)
At least one half the work credited toward the degree must be in 600-level courses or above. A diagnostic examination is administered prior to the first semester of enrollment. During the final semester of the master’s program, music education students must complete a portfolio that demonstrates advanced competencies.
Core (6 hours)
MUS 601 Research Methods in Music (3)
One of the following: MUS 606, 611, 628, 660, 662, 674
Professional (17 hours)
MUS 650, 639a or b, 2 credit hours of ensemble or performance study, and select 9 hours from MUS 605, 633, 634, or 653
Music Electives (9 hours)
A minimum of two 3-hour courses is required.
Portfolio (2 hours) (Capstone Experience)
MUS 692a,b Portfolio Development in Music Education (2)
Elective Concentrations
In addition to the Core and Portfolio requirements listed above, students must complete the appropriate Professional and Elective requirements as follows:
Elementary/General Concentration (34 hours)
Professional/Concentration (17 hours)
MUS 639a or b, 650, 633, 634
Select one course from: MUS 605, 653
Music Performance/Ensemble (2)
Concentration/Electives (9 hours)
MUS 645, 678, Electives
Choral Literature/Conducting Concentration (34 hours)
Professional/Concentration (17 hours)
MUS 639a or b, 650
Choral Ensemble: 680, 681, 682, or 688 (2)
Select 9 hours from the following: MUS 605, 633, 634, 653
Electives (9 hours)
MUS 541 and/or 652 (Vocal Pedagogy or Voice) (6)
String Instrument Pedagogy Concentration (34 hours)
Professional/Concentration (17 hours)
MUS 650, 639a or b
Music Performance (Principal Instrument) (2)
Select 9 hours from the following: MUS 605, 633, 634, 653
Concentration/Electives (9 hours)
MUS 603
Music Performance (Secondary Instrument(s))
MUS 657
Winds and Percussion Concentration (34 hours)
Professional/Concentration (17 hours)
MUS 650, 639a or b
Music Performance (Principal Instrument) (2)
Select 9 hours from the following: MUS 605, 633, 634, 653
Concentration/Electives (9 hours)
MUS 604, 607, or 608
Music Performance (Secondary Instrument(s))
MUS 657
Secondary Choral/General Concentration (34 hours)
Professional/Concentration (17 hours)
MUS 650, 639a or b, 633, 634
Music Performance or Ensemble (2)
Select 3 hours from the following: MUS 605, 653
Concentration/Electives (9 hours)
MUS 656, 678, Electives
Requirements for the Master of Music in Music Performance (32 hours)
At least one half the work credited toward the degree must be in 600-level courses or above. A diagnostic examination is administered prior to the first semester of enrollment. A written comprehensive examination* in the final semester is required.
Enrollment in performance studies at the 651 level is required during the semester of recital performance.
Instrumental Division students must perform in an ensemble each semester. The ensemble will be selected by the Division Chair in consultation with the ensemble directors, the performance teacher, and the student.
*Indicates Capstone Experience
Nine hours of language are required for accompanying majors, one semester each of French, German, and Italian. Also required is the equivalent of MUS 170, Diction for Singers. Language and diction hours must be credited satisfactorily on a college transcript. If not, this requirement may be resolved with appropriate enrollment while working on the current degree; these hours will NOT, however, count toward the M.M. in performance in accompanying degree program.
Core (6 hours)
MUS 602 (601 optional)
One of the following: MUS 606, 611, 660, 662
Performance (piano) (9 hours)
MUS 551/651
MUS 652 (one hour) harpsichord and/or fortepiano
Area Literature (10 hours)
Two semesters of each: MUS 513b and 514b
Two of the following: MUS 511, 521, 620, 621, 637, 670, 671, 673, 697
Ensemble (4 hours)
MUS 696a
Music Electives (3 hours)
Accompanying Recital (two) (NC)
MUS 600 Recital (0)
Two full accompanying or chamber ensemble recitals are required. The 651 level must be achieved before jury approval of the second recital. The repertoire should include representative selections from vocal, string, and wind literature. The distribution and quantity of repertoire from the three areas is determined at the discretion of the teacher. At least one work played on the harpsichord should be included in the repertoire. For one of the required recitals, any part may be solo literature.
Conducting (Choral) Concentration
Core (6 hours)
MUS 602 (3)
One of the following: MUS 606, 611, 660, 662 (3)
Performance (Conducting) (8 hours)
MUS 551/651, 629, 639b
Secondary Performance Study (Keyboard/Voice) (2 hours)
MUS 652 (2)
Pedagogy (3 hours)
MUS 541 (3)
Ensemble (4 hours)
MUS 680, 681a, 681b, 682, 688
Choral Literature (6 hours)
MUS 528, 628
Recital (NC)
MUS 600 (0)
Music Electives (3 hours)
Must be a 3-hour course
Conducting (Instrumental) Concentration
Core (6 hours)
MUS 602 (601 optional)
One of the following: MUS 606, 611, 628, 660, 662, 664
Performance (Conducting) (8 hours)
MUS 551/651 and/or 639a
Performance (Keyboard Secondary) (2 hours)
MUS 652
Ensemble (preferably large) (2 hours)
Recital (NC)
MUS 600 Recital (0)
Music Electives (14 hours)
Minimum of two 3-hour courses required
Early Keyboard Instruments Concentration
MUS 302 or 303 Keyboard Harmony or proficiency required (not graduate credit)
Core (6 hours)
MUS 602 (required)
One of the following: MUS 606, 611, 660, 662, 664
Performance (harpsichord or fortepiano) (8 hours)
MUS 551/651
Two hours at 651 required before the recital
Performance (second keyboard instrument - organ, fortepiano, harpsichord, clavichord) (2 hours)
MUS 652
Area Literature (6 hours)
MUS 530 or 531
MUS 613
Ensemble (2 hours)
MUS 648 required
Recital (NC)
MUS 600 Recital (0)
Music Electives (8 hours)
Core (6 hours)
MUS 602 (601 optional)
One of the following: MUS 606, 611, 628, 660, 662, 664
Performance (8 hours)
MUS 551/651
Area Literature (6 hours)
Ensemble (2 hours)
Usually selected from MUS 513, 514, 648
Recital (NC)
MUS 600 Recital (0)
Music Electives (10 hours)
MUS 302 or 303 Keyboard Harmony or proficiency required (will not count toward the degree).
Core (6 hours)
MUS 602 (601 optional)
One of the following: MUS 606, 611, 660, 662, 664
Performance (6 hours)
MUS 551/651
Pedagogy (6 hours)
Six hours from the following: MUS 612, 616, 617, 672
Area Literature (6 hours)
Two of the following: MUS 613, 614, 615, 620
Lecture/Demonstration (2 hours)
MUS 610
Music Electives (6 hours)
String, Wind, Percussion Concentration
Core (6 hours)
MUS 602/601
One of the following: MUS 606, 611, 660, 662, 664
Performance (8 hours)
MUS 551/651
Area Courses (6 hours)
Three hours of Area Literature from one of the following: MUS 635, 636, 637, 670, 671, 673
Three hours of Area Pedagogy from one of the following: MUS 603, 604, 607, 608, 626
Ensemble (preferably large) (4 hours)
Recital (NC)
MUS 600 Recital (0)
Music Electives (8 hours)
A minimum of two 3-hour courses required
Vocal Pedagogy Concentration (35 hours)
Twelve (12) hours of language are required for voice majors—one semester each of French, German, and Italian plus a second semester to be selected from one of these three languages. Also required is the equivalent of MUS 170-Diction for Singers. Language and diction hours must be satisfactorily credited on a college transcript. If not, this requirement may be resolved with appropriate enrollment while working on the current degree; however, these hours will not count toward the Master’s in Performance-Voice or Vocal Pedagogy.
Core (6 hours)
MUS 602 (601 optional)
One of the following: MUS *606, 611, 628, 660, 662
*If MUS 606 is submitted as part of Area Literature requirement, an additional course (MUS 606 with different topic, 611, 628, 660, or 662) must be taken to satisfy core requirement.
Performance (voice) (8 hours)
MUS 551/651
Ensemble (2 hours)
MUS 680, 681a, 681b, 682, 688
Vocal Pedagogy (6 hours)
MUS 541, 641
Area Literature (6 hours)
Selected from MUS 511, 521, 621, 606 (if vocal topic and not counted under core)
Lecture/Demonstration and Paper (2 hours)
MUS 610 (2)
Recital (NC)
MUS 600 Recital (0)
Music Electives (5 hours)
Minimum of one 3-hour course required
Voice Concentration (32 hours)
Twelve (12) hours of language are required for voice majors—one semester each of French, German, and Italian plus a second semester to be selected from one of these three languages. Also required is the equivalent of MUS 170-Diction for Singers. Language and diction hours must be satisfactorily credited on a college transcript. If not, this requirement may be resolved with appropriate enrollment while working on the current degree; however, these hours will not count toward the Master’s in Performance-Voice or Vocal Pedagogy.
Core (6 hours)
MUS 602 (3)
One of the following:MUS 606, 611, 628, 660, 662, 664 (3)
Performance (10 hours)
MUS 551/651 (8)
MUS 675 (2)
Large Performance Ensemble (2 hours)
Select 2 hours from: MUS 680, 681a, 681b, 682, 688
Pedagogy (3 hours)
MUS 541 (3)
Area Literature (6 hours)
Selected from MUS 511, 521, 621, 606 (if vocal topic and not counted under core)
Recital (NC)
MUS 600 (0)
Music Electives (5 hours)
Minimum of one 3-hour course required
Core (6 hours)
MUS 602/601
One of the following: MUS 606, 611, 660, 662, 664
Performance (11 hours)
MUS 551/651/652 (flute, oboe, clarinet, bassoon, saxophone)
(4 hours-principal, 4 hours-minor, 3 hours-secondary)
Must show 651 proficiency on principal instrument
Must show 551 proficiency on minor instrument (principal and minor instruments must be non-alike)
Must study for 1 hour credit on remaining 3 instruments (652) (jury required)
Ensemble (preferably large) (2 hours)
Area Courses (6 hours)
MUS 670 Woodwind Literature (3)
MUS 604 Woodwind Instrument Pedagogy (3)
Recital (NC)
MUS 600 Recital (0)
Must include at least two instruments
Music Electives (7 hours)
Minimum of one 3-hour course
Requirements for the Master of Music in Music Theory (34 hours)
At least one half the work credited toward the degree must be in 600-level courses or above. A diagnostic examination is administered prior to the first semester of enrollment. A written comprehensive examination* in the final semester is required.
*Indicates Capstone Experience
Core (6 hours)
MUS 602 (3)
MUS 606 (3)
Major Courses (18 hours)
MUS 611, 644, 660, 662, 664, 690
Thesis (5 hours)
MUS 699 (5)
Performance (2 hours)
MUS 652, performance, composition, or conducting
Electives (3 hours)
Recommended: MUS 618, 619, 654, history and literature, composition or electronic music, or improvisation
Composition (32 hours)
At least one half the work credited toward the degree must be in 600-level courses or above. A diagnostic examination is administered prior to the first semester of enrollment. A written comprehensive examination* in the final semester is required.
*Indicates Capstone Experience
Core (6 hours)
MUS 602 Research Seminar in Music History (3)
MUS 606 or 611 (3)
Composition (6 hours)
MUS 551/651 Composition Lessons (6)
Enrollment in composition studies at the 651 level is required before or during the semester of recital performance.
Area Study (15 hours)
MUS 507 Modal Counterpoint (3) or MUS 508 Tonal Counterpoint (3) (A Music Elective may be substituted if equivalents of both of these have been included in undergraduate study)
MUS 533 Twentieth-Century Music (c. 1890-1950) (3) or MUS 534 Music Since 1945 (3) or a MUS 606 course in a 20th-century topic (3)
MUS 550 Electronic Music (3) or MUS 640 Electroacoustic Music Composition (3)
MUS 566 Orchestration (3)
One of the following: MUS 660 Theory and Analysis of Rhythm (3) or MUS 662 Schenkerian Analysis (3) or MUS 664 Post-Tonal Theory (3)
Music Electives (2 hours)
Upon approval of the Composition Faculty and the Associate Dean, a course in digital media (e.g., film, video) offered in other departments such as Art or Broadcasting and Cinema may be used as an elective.
Recital (NC)
MUS 600 Recital (0)
Thesis (3 hours)
MUS 699 Thesis (3)
Requirements for the Post-Master's Certificate in Music Theory Pedagogy
Within the Ph.D. or D.M.A. programs a student may elect a Post-Master's Certificate in music theory pedagogy (14 hours). The purpose is to provide the student with knowledge and skills necessary to be successful teaching music theory and ear training in higher education. See the Associate Dean for admission and exit requirements.
Required Courses (14 hours)
MUS 644 Pedagogy of Music Theory (3)
MUS 662 Schenkerian Analysis (3)
Two semesters of MUS 689 Practicum in Theory Pedagogy (1)
Select two of the following :
MUS 611 Seminar in Music Analysis (3) (may be taken twice with different topics)
MUS 660 Theory and Analysis of Rhythm (3)
MUS 664 Post-Tonal Theory (3)
MUS 690 Readings in Music Theory (3)
Requirements for the Doctor of Musical Arts in Performance
The School of Music offers a flexible program of study leading to the Doctor of Musical Arts degree in performance with a minimum of 90 hours post-baccalaureate course work. Students who begin study at the master’s level at UNCG must successfully fulfill all requirements for the master’s degree and successfully present a doctoral audition/interview to be admitted into the doctoral program.
The plan of study is developed individually in consultation with the student’s advisory committee. At least 75% of all course work, exclusive of the dissertation, must be at the 600 or 700 level. A diagnostic examination is administered prior to the first semester of enrollment.
The D.M.A. in performance is offered in the following concentrations: Accompanying and Chamber Music, Choral Conducting, Keyboard, Instrumental Conducting, Strings, Winds, Brass, Percussion, and Voice.
Up to 30 hours earned in a master’s program from an accredited graduate school may be applied to the elective portion of this degree. These credits may count toward any elected cognates or help to satisfy competencies with the approval of the doctoral advisory committee and the Director of Graduate Study in accordance with the academic regulations of The Graduate School.
The following 60 hours must be completed at UNCG:
Performance Studies (18 hours minimum)
Students registered for more than one credit of MUS 751 must simultaneously enroll for at least one three-hour music course.
Reading/Writing/Speaking Intensive Courses (9 hours minimum)
At least one history course (606) and one theory course (611, 660, 662, 664) must be taken.
Other courses may be chosen from the above listed courses or the following:
MUS 605, 618, 627, 628, 633, 634, 645, 646, 649, 650, 653, 658, 659, 678, 749, 750
Required Competencies
Area Literature
Area Pedagogy
Satisfactory completion of competencies is determined by the Doctoral Advisory Committee.
Voice, Choral Conducting, and Accompanying and Chamber Music students must fulfill a language competency as outlined in the D.M.A. Handbook.
Research Skills
Students who have not earned a B or higher in a bibliography course at the master's level from a NASM accredited school must take MUS 602.
Additional research skills appropriate to the area of study as determined by the advisory committee, such as computer programming, including web-design language(s), statistics, foreign languages, non-traditional notation systems, etc.
Electives (51 hours - 21 at UNCG)
Unless exempt by the diagnostic examination, student must take MUS 525 and 526.
Cognates
Students are encouraged to gain in-depth competence in one or possibly two fields of specialization and shall develop a cognate that comprises 12 credit hours from any one area of study. These credits may come from the master’s degree, the required courses, or any other courses taken at UNCG as electives.
Possible cognates include but are not limited to Music History, Music Theory, Composition, Music Literature, Music Pedagogy, Music Education, Conducting, Jazz, Music Technology, Movement Pedagogy, and World Music.
The cognate may also be fulfilled if a student completes an official minor or certificate program within the School of Music. Cognates outside of the School of Music will be allowed with permission of the doctoral advisory committee. A separate application is required for minors and certificates. Any student approved for a minor or certificate program must have an approved faculty member to represent the area of study as a member of the doctoral advisory committee.
No more than 9 hours of ensemble or performance studies earned during the doctoral enrollment may be credited toward the electives requirement.
Dissertation (12 hours minimum)
MUS 799 Dissertation
The dissertation in performance consists of three public recitals and one of the following options:
- Lecture-Recital: A 50-60 minute performance and lecture accompanied by a written body of work that is generally between 20-25 pages.
- Lecture: The completion of a paper in which the body of work is generally 30-50 pages and a 50-60 minute public presentation of the paper. There is no additional performance involved with this option.
- Doctoral Document: The completion of a paper in which the body of work is generally 50-100 pages. While there is no lecture or additional performance involved, a public defense of the document to the doctoral advisory committee is required.
Regardless of the option chosen by the student in consultation with the doctoral advisory committee, the written portion of the dissertation should represent original scholarship, be carried out at the highest level of scholarship, and be relevant to the particular major field’s repertory, pedagogy, history, or practice. See the section on Public Presentation of the Written Portion of the Dissertation in the Graduate Music Handbook for more information.
Required Examinations
Diagnostic, Preliminary (written and oral), Final Oral Examinations
Minor in Early Keyboard Instruments
Within the D.M.A. in performance, students may elect to fulfill the requirements for a 12-hour minor in early keyboard instruments. The following courses are required:
MUS 613 Keyboard Literature I (to c. 1800) (3)
MUS 620 Seminar in Piano (3)
Topic must be relevant to early keyboard studies, such as the following: The 18th-Century Piano, The Mozart Piano Concertos, Haydn’s Keyboard Music, The Pianist’s Bach, Performance Practice on Historical Keyboard Instruments, Beethoven’s Late Piano Music
MUS 652 Secondary Performance Studies (in harpsichord and/or fortepiano) (6) (Registration may be for one or two hours per semester.)
Requirements for the Doctor of Philosophy in Music Education
The School of Music offers a graduate program of study leading to a 69 hour Doctor of Philosophy degree. At least 75% of all course work, exclusive of the dissertation, must be at the 600 or 700 level. A diagnostic examination is administered prior to the first semester of enrollment. A minor, or minors, in any area approved by the student’s advisory/dissertation committee and The Graduate School may be elected as specified in The Graduate School Bulletin.
Music Education (18 hours)
Select from MUS 605, 618, 619, 633, 634, 645, 650, 653, 750, and 797
Research (12 hours)
ERM 680, ERM 681, MUS 601, MUS 701
Professional Education or Other Fields (9 hours)
Areas of study: History and philosophy, curriculum and pedagogy, administration, psychology and human development, computer science and information management
Music Electives (12 hours)
Workshop credits applied toward the Ph.D. are limited to 3 hours.
Music History and/or Theory (6 hours)
Dissertation (12 hours)
MUS 799 Dissertation
Research and Teaching Skills Proficiencies
Completed on an independent basis during course of study before comprehensive examination.
Required Examinations
Diagnostic, comprehensive, dissertation defense. See Ph.D. Handbook for details.
MUS Music Courses
| 500 | Organ Pedagogy (3:3) |
| Pr. junior, senior, or graduate keyboard major or principal Study and evaluation of procedures used in the teaching of organ. Emphasis on skills and techniques through exercises and literature. | |
| 507 | Modal Counterpoint (3:3) |
| Pr. 202 and 206 or permission of instructor Contrapuntal techniques and standard forms of Renaissance sacred vocal repertoire. Analysis of music by such composers as Josquin, Palestrina, and Lassus. Standard writing techniques of motet and mass; aural training. (Spring) | |
| 508 | Tonal Counterpoint (3:3) |
| Pr. 202 and 206, or permission of instructor Contrapuntal techniques and standard forms of the middle and late Baroque. Analysis of music by composers from Corelli to Bach, composition in representative forms, and aural training. (Fall) | |
| 510 | Advanced Tonal Analysis (3:3) |
| Analysis of selected major compositions in the tonal repertoire. Reading and discussion of literature on theoretical concepts and on analysis and interpretation. | |
| 511 | History of Opera (3:3) |
| Pr. 333 or permission of instructor Principal opera composers and styles from Monteverdi to the present; analytical study of selected major works. Not offered every year. (Odd Spring) | |
| 513 | Performance of Art Song Repertoire (1:0:2) |
| Pr. permission of instructor Performance-based study of art song repertoire emphasizing stylistic elements. Concentrates on one language or composer each semester, including, but not limited to, German Lieder, French Melodie, American or British song. May be repeated for credit. Open to junior, senior, and graduate music majors. (Fall) |
|
| 521 | Song Literature I (3:3) |
| Survey of non-operatic solo vocal repertoire: Italian (Baroque and Classical), German, Nationalistic, Spanish. Brief historical study of major composers, poets, compositional styles, and historical periods. | |
| 522 | Song Literature II (3:3) |
| Survey of non-operatic solo vocal repertoire: Italian (romantic and 20th Century), French, British, 20th Century American. Brief historical study of major composers, poets, compositional style, and historical periods. |
|
| 525 | Overview of Tonal Harmony and Form (3:3) |
| Pr. permission of instructor Review of tonal harmony, voice-leading, and form. (Fall) | |
| 526 | Overview of Western Music History (3:3) |
| Pr. permission of instructor Review of western European music history from the Greeks to the present day including the classical art tradition in America. (Spring) | |
| 528 | Choral Music since 1750 (3:3) |
| Pr. 333 or permission of instructor Study of the significant genres and major composers of choral music since 1750; detailed examination of selected masterworks. (Even Fall) | |
| 529 | Renaissance Music (3:3) |
| Pr. 332 or permission of instructor Comprehensive, historical survey of music of the fifteenth and sixteenth centuries with a detailed study of styles of representative composers evidenced in selected monumental works. Attention will be given to bibliography and discography for further study. (Even Spring) | |
| 530 | The Baroque Period in Music (3:3) |
| Pr. 332 or permission of instructor Comprehensive, historical survey of music of the Baroque era from Monteverdi through Bach and Handel with a detailed study of styles of representative composers evidenced in selected monumental works. Attention will be given to bibliography and discography for further study. (Even Fall) | |
| 531 | Classicism and Romanticism in Music: 1750-1850 (3:3) |
| Pr. 333 or permission of instructor Examination of the major contributions of Mozart, Haydn, Beethoven, Schubert, Berlioz, Schumann, etc., to the western tradition. Special attention to be given to the development of music for the symphony orchestra and the piano. (Odd Spring) | |
| 532 | The Post-Romantic Tradition in Music: 1850-1914 (3:3) |
| Pr. 333 or permission of instructor Study of developments in the history of music from Wagner through early Schoenberg. Special attention will be given to changes in styles and techniques as well as the interactions between music and the other arts. (Odd Fall) | |
| 533 | Twentieth-Century Music (c. 1890-1950) (3:3) |
| Pr. 333 or permission of instructor Survey of composers and musical styles which emerged in Europe and the Americas from impressionism through the beginnings of electronic music. (Even Spring) | |
| 534 | Music Since 1945 (3:3) |
| Pr. 333 or permission of instructor Study of creative trends and issues in music and related media in Europe and the United States since World War II. (Even Fall) | |
| 538 | The Symphonic Tradition (3:3) |
| Pr. 333, or permission of instructor Advanced study of symphonic styles and techniques from Baroque era to present. (Even Spring) | |
| 541 | Principles of Vocal Pedagogy (3:3) |
| Pr. senior or graduate standing as a voice major or principal or permission of instructor Teaching process as applied to singing. Includes historical development and an examination and comparison of concepts and approaches past and present. (Fall) | |
| 550 | Electronic Music (3:2:2) |
| Pr. permission of instructor Introductory course in electronic composition. Lecture and laboratory experience. Open to all University students. (Fall) | |
| 566 | Orchestration (3:3) |
| Advanced techniques in instrumental scoring for large ensembles such as orchestra, wind ensemble, and jazz ensemble. Historical and stylistic analysis of the art of orchestration. Additional practical exercises in scoring and arranging for small and large ensembles. (Spring) | |
| 589 | Experimental Course |
| This number reserved for experimental courses. Refer to the Course Schedule for current offerings. | |
| 600 | Recital (0) |
| (Graded on S-U basis) (Fall, Spring, and Summer) | |
| 601 | Research Methods in Music (3:3) |
| Pr. graduate music education major or permission of instructor Writing skills, materials, and procedures utilized in music research; measurement, experimental design, theories/ procedures for evaluation, statistics, computer applications, and initiation of scholarly research. Computer fee charged. (Fall and Summer) | |
| 602 | Seminar in Music Research and Writing (3:3) |
| Musical bibliography encompassing a range of print and electronic sources and databases. Methods for researching and writing about music, including research papers, music criticism, and other genres. Computer fee charged. (Fall, Spring) | |
| 603 | String Instrument Pedagogy (3:3) |
| Pr. bowed string principal or major or permission of instructor Survey of string teaching philosophies, methods, and materials, and their applications. To include lab experience. (Odd Spring) | |
| 604 | Woodwind Instrument Pedagogy (3:3) |
| Pr. 351 performance level or permission of instructor Survey of various philosophies, methods, and materials utilized in the teaching and performing of woodwind instruments. (Even Spring) | |
| 605 | The Measurement of Musical Behavior (3:3) |
| Pr. graduate music education major or permission of instructor Review of standardized music tests and an examination of methods for developing tests related to the measurement of musical behavior. (Spring, Summer) | |
| 606 | Seminar in Music History (3:3) |
| Pr. 602 (601) or permission of instructor Selected compositions, including contemporary writings about musical culture with reference to the composers. May be repeated once for credit when topic varies. (Fall, Spring, and Summer) | |
| 607 | Brass Instrument Pedagogy (3:3) |
| Pr. 351 performance level or permission of instructor Survey of various philosophies, methods, and materials utilized in the teaching and performing of brasswind instruments. (Odd Fall) | |
| 608 | Percussion Instrument Pedagogy (3:3) |
| Pr. 351 performance level or permission of instructor Survey of various philosophies, methods, and materials utilized in the teaching and performing of percussion instruments. (Even Fall) | |
| 609 | Jazz Pedagogy (3:3) |
| Pr. 202, 206 or admission into any UNCG graduate program in music or permission of instructor Principles of jazz interpretation, improvisation, and arranging. Procedures for organizing and administering jazz programs. Survey of jazz materials. (Even Fall) | |
| 610 | Lecture-Demonstration (2:1) |
| Pr. six hours of 551 or 651 A research project leading to a public lecture recital. (Graded on S-U basis) (Fall and Spring) | |
| 611 | Seminar in Musical Analysis (3:3) |
| Pr. graduate standing in music Analysis of selected compositions representative of one style period of Western music. May be repeated once for credit when topic varies. (Fall, Spring, and Summer) | |
| 612 | Piano Pedagogy I (3:3) |
| Survey of current piano teaching philosophies, methods, materials, and their application for private and group instruction. Supervised teaching of beginning piano students. (Fall) | |
| 613 | Piano Literature I (3:3) |
| Survey of piano literature from ca. 1760-1825, with a preliminary investigation of music for the other keyboard instruments from the earliest extant sources. (Odd Fall) | |
| 614 | Piano Literature II (3:3) |
| Survey of piano literature from ca. 1825 to the present. (Even Spring) | |
| 615 | Seminar in Nineteenth-Century Piano Literature (3:3) |
| Pr. graduate keyboard majors or permission of instructor Study in selected composers or genre of the nineteenth century; historical, stylistic, analytical, and performance practice aspects. May be repeated once for credit when topic varies. (Even Fall, Odd Spring) | |
| 616 | Techniques of New Music for Piano (3:3) |
| Pr. 500 level or above in piano, or with permission of instructor Performance practices in twentieth-century piano music; technical, notational, and rhythmic considerations. (Even Spring) | |
| 617 | Piano Pedagogy II (3:3) |
| Survey of intermediate and moderately advanced teaching literature with emphasis on basic pedagogical approaches to technique, style, and interpretation. Procedures for teaching functional skills. Supervised teaching experience. (Spring) | |
| 618 | Psychology of Music (3:3) |
| The physical and psychological aspects of music involving human behavior. (Fall and Summer) | |
| 619 | Acoustics of Music (3:3) |
| Designed to develop an understanding of the production, transmission, and reception of musical sounds. (Even Spring) | |
| 620 | Seminar in Piano (3:3) |
| Pr. permission of instructor Study of a particular composer or genre of piano literature emphasizing stylistic features, performance problems, pedagogy, and historical perspectives. Topic to be announced. May be repeated once for credit when topic varies. (Even Fall, Odd Spring) | |
| 621 | Seminar in Vocal Literature (3:3) |
| Pr. permission of instructor In-depth study of an area of vocal literature tracing the historical development and performance practice of that area. Topic to be announced. May be repeated once for credit when topic varies. | |
| 622 | Seminar in Choral Literature (3:3) |
| In-depth study of a limited area of choral literature, tracing its historical development and performance practice. Topic to be announced. May be repeated once for credit when topic varies. | |
| 623 | Jazz Arranging I (3:3) |
| Pr. graduate standing in music or permission of instructor Beginning study of language and techniques employed in arranging music for various jazz ensembles. (Odd Fall) | |
| 624 | Jazz Arranging II (3:3) |
| Advanced study of techniques and disciplines employed in arranging for jazz ensembles. (Even Spring) | |
| 625 | Music and Culture of Sub-Saharan Africa (3:3) |
| Traditional and popular musics in Africa in relationship to social and historical contexts; topics include regional styles, performers' roles, instruments, concepts and uses of music, and performance contexts. | |
| 626 | Guitar Literature (3:3) |
| Survey of guitar literature from the Renaissance to the present; detailed study of lute tablatures, instrument construction, and the development of technique. Open to all University students. | |
| 627 | Issues in Multicultural Music Education (3:3) |
| Pr. admission to a graduate program in music education or permission of instructor Overview of historical, philosophical, cultural, and pedagogical issues in multicultural music education. Emphasis on the development of knowledge that will inform and enhance instructional practice. (Even Spring and Summer) | |
| 628 | Choral Music of the Renaissance and Baroque (3:3) |
| Pr. 331, 332, or permission of instructor Survey of choral literature from the early fifteenth century to 1750. (Odd Fall) | |
| 629 | Choral Laboratory III (2:1:2) |
| Pr. admission to graduate program in conducting, or permission of instructor Supervised practice in conducting choral rehearsals; comparative study of rehearsal procedures and of choral objectives; continued study of choral repertory. (Fall) | |
| 630 | The Study and Pedagogy of Phonetics as Applied to Singing (3:3) |
| Pr. singing experience in Italian, French, and German The International Phonetic Alphabet as applied to the singing of English, Italian, German, and French. Emphasis on vocal interpretation of the symbolic language and functional skills of teaching. | |
| 632 | Methods and Materials of Music Reading Instruction (3:2:2) |
| Pr. graduate music student or K-12 music teacher licensure Overview of methods and materials for music reading instruction. Emphasis on connections between language and music reading. Involves weekly online sessions, individual projects, and two related workshops. (Online Spring) | |
| 633 | Music for Exceptional Children (3:3) |
| Pr. 361 or permission of instructor Review of the learning styles of exceptional children and the implications for providing realistic musical activities in the classroom. Emphasis will be placed on developing musical skills with special learners. Nonmusic majors may enroll. (Even Fall and Summer) | |
| 634 | Contemporary Trends in Music Education (3:3) |
| Current philosophies and concepts influencing contemporary music education practices, methods, and material. Investigation into social psychology of music as applied to existing music instruction in public schools. (Odd Fall) | |
| 635 | Percussion Literature (3:3) |
| Survey of percussion literature from the Medieval era to the present emphasizing the role of percussion in various musical setting. (Odd Fall) | |
| 636 | Band Literature (3:3) |
| Band literature and the origins of the band emphasizing its important and expanded cultivation during the past century in the United States and Europe. (Odd Spring) | |
| 637 | String and Keyboard Chamber Literature (3:3) |
| Survey of string and piano chamber music literature from the seventeenth century to the present. Emphasis on historical perspectives, performance of representative works, and score analysis. (Odd Fall) | |
| 638 | Exploring Musical Cultures (1-3) |
| Pr. consult Director of Graduate Study for specific prerequisites for each trip Music study trips. Offered only in conjunction with a specific trip. May be repeated for credit. | |
| 639a,b | Advanced Conducting (3:3), (3:3) |
| Pr. 472 or 419; permission of instructor required Advanced conducting skills including baton technique, score reading, rehearsal techniques, score analysis, repertoire, programming, and interpretation. 639a, Instrumental (Fall); 639b, Choral/instrumental (Summer). | |
| 640 | Electroacoustic Music Composition (3:3:3) |
| Pr. 350, 550, or permission of instructor Further exploration of compositional concepts dealing with MIDI, sound synthesis, multitracking, and recording techniques. Emphasis on live, interactive electronic music resources including Max/MSP, C-Sound, Reaktor, and others. (Spring) | |
| 641 | Advanced Vocal Pedagogy (3:3) |
| Pr. 541 Practical application of proven pedagogical techniques in a supervised teaching situation. (Spring) | |
| 642 | Orchestral Reduction Repertory: Vocal Repertoire (1:0:2) |
| Pr. accompanying or piano performance major Study and performance of works within the vocal repertoire that have been transcribed from an orchestral, chamber orchestra, or instrumental ensemble to a piano arrangement. | |
| 643 | Orchestral Reduction Repertory: Instrumental Repertoire (1:0:2) |
| Pr. accompanying or piano performance major Study and performance of works within the instrumental repertoire that have been transcribed from an orchestral, chamber orchestra, or instrumental ensemble version to a piano arrangement. | |
| 644 | Pedagogy of Music Theory (3:3) |
| Pr. graduate standing in music Survey of philosophies, curricula, course content, and teaching approaches for undergraduate courses in music theory and aural skills. (Even Fall) | |
| 645 | Teaching Elementary Music: Theory and Practice (3:3) |
| Pr. music teaching experience in elementary school or the equivalent of 465 Emphasis on strategies and materials for developing children's musicianship and problem-solving skills. Consideration of current child development and learning theories to teaching elementary general music. (Odd Spring) | |
| 646 | Music Experiences: Birth through Kindergarten (3:3) |
| Comprehensive overview of music experiences for children from birth to seven years. Developmentally appropriate teaching materials, methods, approaches, and strategies for preschool caregivers, general educators, and music educators are emphasized. (Odd Summer) | |
| 649 | Applied Performance Practice and Literature |
| Pr. 601 and 602 or permission of instructor Performance practice issues in 17th-19th century music. Topics vary. Students investigate period and secondary sources, apply them to their instrument/voice, and create lecture-recitals on chosen works. |
|
| 650 | Seminar in Music Education (3:3) |
| Salient philosophies, practices, and methods involving music education as considered in a social context; challenges in dealing with elementary and secondary students and opportunities for music education in the community. Individual research project required. (Fall and Summer) | |
| 653 | Music Supervision (3:3) |
| Philosophical foundations of music education as related to the development of supervisory and administrative programs. Basic concepts of music education and means for evaluation of music education curricula. (Odd Spring and Summer) | |
| 654 | Computers in Music Research (3:3) |
| Pr. 601 or 602 Use of computer systems for music research. (Spring) | |
| 656 | Advanced Choral and General Music Methods for the Adolescent (3:3) |
| Examination of contemporary research and pedagogy with an emphasis on developing appropriate instructional strategies for use with adolescent students in choral and general music classrooms. (Even Fall) | |
| 657 | Advanced Instrumental Methods (3:3) |
| Overview of current practice in learning and teaching music with emphasis on the development of practical strategies for implementation within the instrumental music classroom. (Odd Fall) | |
| 658 | Topics in Music Technology for Educators (1:0:1) |
| Advanced study of music technology with an emphasis on integration into the music classroom. May be repeated when topic varies. (Summer as needed) | |
| 659 | Philosophy of Music (3:3) |
| Pr. admission to master's or doctoral program in music Overview of historical and current philosophies of music. Specific applications will be made to various areas of expertise, including music compostion, education, history, performance, and theory. (Spring) |
|
| 660 | Theory and Analysis of Rhythm (3:3) |
| Survey of theories and analytical approaches regarding the temporal organization of music. (Odd Fall) | |
| 662 | Schenkerian Analysis (3:3) |
| Pr. 507 or 508 or equivalent Theories and analytical methods of Heinrich Schenker as applied to masterworks of the tonal repertory. Selected readings from Schenkerian literature. (Spring) | |
| 663 | History of Jazz (3:3) |
| Chronological survey of jazz music and jazz history. Introduction to standard reference works and investigation of socio-cultural aspects. (Even Spring) | |
| 664 | Post-Tonal Theory (3:3) |
| In-depth study of theoretical and analytical approaches to post-tonal music. Readings, analyses, papers, and presentations required. (Even Fall) | |
| 668 | Organ Literature (3:3) |
| Survey of organ literature from sixteenth century to present. Open to all graduate students by permission of instructor. | |
| 670 | Woodwind Literature (3:3) |
| Survey of woodwind solo and chamber literature, 17th century to the present; historical perspectives, woodwind genres, performance practice, performances of representative works, and score analysis. (Odd Spring) | |
| 671 | String Solo Literature (3:3) |
| Survey of literature for the violin, viola, cello, and bass from the seventeenth century to the present. Emphasis on historical perspectives, score analysis, aspects of performance practice, and performance of representative compositions. (Even Fall) | |
| 672 | Piano Technique, A Pedagogical Survey (3:3) |
| Chronological survey of theories of piano technique from the clavier methods of the early eighteenth century to the present. (Odd Fall) | |
| 673 | Brass Solo Literature (3:3) |
| Survey of brass solo literature from the seventeenth century to the present. Emphasis upon historical perspectives, aspects of performance practice techniques, performances of representative works, and score analysis. (Even Fall) | |
| 674 | Masterpieces of Musical Styles (3:3) |
| Pr. music education major, passing score on music history diagnostic test In depth study of five masterpieces of music history selected from a variety of periods. | |
| 675 | Opera Performance Techniques (2:2:2) |
| Pr. 375 and/or permission of instructor Techniques for the singer-actor; study of the materials and nature of music theatre; development of skills required in opera/musical theatre. May be repeated once for credit. (Fall) | |
| 678 | Orff in the Music Classroom (3:3) |
| Pr. advanced undergraduate or graduate standing in music or permission of instructor Practical experiences in the Orff-Schulwerk process of music teaching. Recorder proficiency, Orff instrumental technique, and orchestration for Orff instrumentarium are emphasized. Nonmusic majors may enroll. (Summer as needed) | |
| 679 | Music Education Workshop (1-3) |
| Activities and study involving specific experiences related to music education. Credit hours, duration, and subject emphasis will vary as announced. May be repeated if topic differs; however, three semester hours are maximum credits allowed in master's and specialists programs. (Graded on S-U basis) | |
| 687 | Aural and Keyboard Skills for Music Theory (1:5:3) |
| Pr. admission to the master's degree program in music theory or the certificate program for music theory pedagogy Instruction and practice leading to the development of aural and keyboard skills sufficient for instructors of music theory and ear training. May be repeated for credit. | |
| 689 | Practicum in Teaching Music Theory and Musicology (1:0:2) |
| Pr. admission to the certificate program in music theory pedagogy or in musicology Supervised teaching of basic music theory and aural skills, music history, music appreciation, or world music. | |
| 690 | Readings in Music Theory (3:3) |
| Pr. 602 Survey of the evolution and present state of the discipline of music theory. (Fall and Spring) | |
| 692a,b | Portfolio Development in Music Education (1) (1) |
| Pr. acceptance in M.M. in music education or permission of instructor Development of a portfolio that reflects the application of course work in music education to classroom teaching. (Fall and Spring online) | |
| 697 | Directed Study in Music (1-6) |
| Pr. permission of supervising professor; Director of Graduate Study, and Dean Supervised advanced research requiring a written document or composition. 697a, Music Education; 697b, Performance, Composition, Theory; 697c, Music History and Literature. (Fall, Spring, and Summer) | |
| 698 | Document in Music Theory (1) |
| Development of research topic in music theory to publication stage. May be repeated for credit. (Fall and Spring) | |
| 699 | Thesis (1-6) |
| Individual guidance in the development of a specific research problem. (Fall, Spring, and Summer) | |
| 701 | Research Methods in Music II (3:3) |
| Pr. 601 and permission of instructor Advanced research methodology and procedures in music education. (Spring as needed) | |
| 702 | Musicological Research for Performers (3:3) |
| Pr. 602 or equivalent Research problems and methodologies for doctoral-level performing musicians. Computer fee charged. (Spring) | |
| 703 | Research Methods for Performers (3:3) |
| Pr. admission to the D.M.A. degree program; completion of a 600-level research course at UNCG or equivalent Survey of research methodology and approaches appropriate for doctoral students in performance and preparation for the completion of a D.M.A. dissertation document. | |
| 711 | Experimental Course |
| This number reserved for experimental courses. Refer to the Course Schedule for current offerings. | |
| 749 | Seminar in Higher Education for Performers (3:3) |
| Pr. admission to the D.M.A. degree program Issues related to teaching music performance in higher education. Topics include curriculum design, teaching methods, evaluation, promotion, school/departmental structure, job searching/resume preparation, copyright, publication, etc. (Fall) | |
| 750 | Doctoral Seminar (3:1:4) |
| Pr. 601, 650 Develop an understanding of functional aspects of teaching in higher education. Assignments in specific areas of professionalism, college curriculum, and research will provide direct experiences. (Spring as needed) | |
| 797 | Directed Study in Music (1-12) |
| Pr. permission of supervising professor; Director of Graduate Study, and Dean, School of Music Supervised advanced research requiring a written document or composition. 797a, Music Education; 797b, Performance, Composition, Theory; 797c, Music History and Literature. (Fall, Spring, and Summer) | |
| 799 | Dissertation (1-12) |
| 801 | Thesis Extension (1-3) |
| 802 | Dissertation Extension (1-3) |
| 803 | Research Extension (1-3) |
Ensembles
Open for credit to all students enrolled in the University. May be repeated for credit.
| 647 | Casella Sinfonietta (1:0:1-2) |
Pr. permission of instructor. Coreq. 691 or 693 |
|
| 648 | Chamber Music (1:0:1) |
| Pr. permission of instructorGroup study and performance of selected chamber music literature/jazz combo literature (non-conducted) with emphasis on development of independent chamber music performance skills. Personnel and repertoire assigned by performance faculty. May be repeated for credit when repertoire varies. | |
| 676 | Period Music Ensembles (1:0:2) |
| Pr. permission of instructor Performance of conducted and non-conducted period literature for winds, string, percussion, and voice. May be repeated for credit when different repertoire is selected. (Fall, Spring) |
|
| 677 | World Music Ensembles (1:0:2) |
| Pr. permission of instructor Performance of conducted and non-conducted world music literature. May be repeated for credit when different repertoire is selected. (Fall, Spring) |
|
| 680 | University Women's Choir (1:0:3) |
| Choral organization for women's voices. Membership by audition. | |
| 681a | Men's Glee Club (1:0:3) |
| Choral organization for men's voices. Membership by audition. | |
| 681b | Women's Glee Club (1:0:3) |
| Choral organization for women's voices. Membership by audition. | |
| 682 | University Chorale (1:0:3) |
| Mixed choral organization of approximately 50 singers. Membership by audition. | |
| 688 | Chamber Singers (1:0:3) |
| Select mixed vocal ensemble of 16 graduate and advanced undergraduate singers. Membership by audition. | |
| 691 | University Orchestra (1:0:4) |
| Full symphony orchestra, performing important works from the symphonic repertoire of the eighteenth, nineteenth, and twentieth centuries. | |
| 693 | University Wind Ensemble (1:0:4) |
| Performance of selected works for wind ensemble including both original and transcribed literature. Advanced performers only. Membership by audition. | |
| 694a | Symphonic Band (1:0:3) |
| Performs literature from all eras, including contemporary works for this medium. Open to all University students. | |
| 694b | University Band (1:0:3) |
| Performs literature from all eras, including contemporary works for this medium. Open to all University students. | |
| 695 | Jazz Laboratory Ensemble (1:0:3) |
| Performance of literature encompassing all of the jazz idioms, with emphasis on contemporary composition. Open to all students by audition and permission of director. | |
| 696 | Studio Ensemble (1:0:3) |
| Participation by audition in studio ensembles appropriate to the individual’s performance area. Contact the School of Music for a list of studio ensembles and specific audition requirements. (Fall and Spring) |