The Graduate School Bulletin
Graduate Music Programs
220 Music Building
(336) 334-5794
Graduate Programs:
Post-Baccalaureate Certificate in BioMusic, 18 hours
Post-Baccalaureate Certificate in Ethnomusicology, 15 hours
Master of Music (MM) in Composition, 32 hours
Master of Music (MM) in Music Education, 34 hours
Master of Music (MM) in Music Performance, Accompanying and Piano Chamber Music, Conducting (Choral), Conducting (Instrumental), Early Keyboard Instruments, Organ, Piano, Piano Pedagogy, String/Wind/Percussion, Vocal Pedagogy, Voice, or Multiple Woodwinds, 32-35 hours
Master of Music (MM) in Music Theory, 34 hours
Post-Master's Certificate in Music Theory Pedagogy, 14 hours
Doctor of Musical Arts (DMA) in Performance, 90 post-baccalaureate hours
Doctor of Philosophy (PhD) in Music Education, 69 hours
Doctoral Minor in Early Keyboard Instruments, 12 hours
MTD School of Music, Theatre, and Dance Courses
Graduate Faculty
Professors
Kelly Burke, DMA, Clarinet (Chair, Instrumental Department).
William P. Carroll, DMA, Choral conducting (Associate Dean).
John J. Deal, PhD, Music education (Dean).
Joseph DiPiazza, DMA, Piano.
Robert Gutter, MM, Instrumental conducting.
Donald Hartmann, DMA, Voice.
Donald A. Hodges, PhD, Music education (Director, Music Research Institute).
David Holley, MM, Voice (Director of Operas).
Randy Kohlenberg, PhD, Trombone.
John Locke, EdD, Instrumental conducting (Director of Bands, Director of Summer Music Camps).
David L. Nelson, PhD, Music theory.
John Salmon, DMA, Piano, jazz.
Paul Stewart, DM, Piano (Chair, Keyboard Department).
J. Kent Williams, PhD, Music theory, computer applications (Chair, Composition, Ethnomusicology, Musicology, and Theory Department).
Andrew S. Willis, DMA, Piano, fortepiano, harpsichord.
Clinical Professor
Patricia M. Gray, DMA, Senior Research Scientist of BioMusic.
Associate Professors
Dennis AsKew, DMA, Tuba.
Edward Bach, DMA, Trumpet.
Marjorie Bagley, MM, Violin
Mary A. Barret, DMA, Oboe and English horn.
Robert Bracey, DMA, Voice (Chair, Vocal Studies Department).
Michael J. Burns, DMA, Bassoon.
Guy Capuzzo, PhD, Music theory.
Gregory Carroll, PhD, Theory, composition, music appreciation.
Gavin D. Douglas, PhD, Ethnomusicology.
Deborah Egekvist, DM, Flute.
Mark Engebretson, DMA, Composition, electronic music.
Alexander Ezerman, DMA, Cello.
Steve Haines, MM, Jazz studies.
Andrew Harley, DMA, Accompanying, vocal coach.
Elizabeth L. Keathley, PhD, Music history.
Carla LeFevre, DMA, Voice.
Constance McKoy, PhD, Music education.
David B. Nolker, PhD, Music education.
Abigail Pack, DMA, Horn.
Scott Rawls, DMA, Viola.
Adam Ricci, PhD, Music theory.
Patricia Sink, PhD, Music education.
Steven Stusek, DM, Saxophone.
David Teachout, PhD, Music education (Chair, Music Education Department).
Nancy Walker, DM, Voice.
Jennifer L. Stewart Walter, PhD, Music education.
Robert A. Wells, DMA, Voice, vocal pedagogy.
Welborn E. Young, DMA, Choral conducting (Director of Choral Activities).
Assistant Professors
Aaron Allen, PhD, Musicology
J. Revell Carr, PhD, Ethnomusicology
James Douglass, DMA, Accompanying.
Chad Eby, MM, Jazz studies.
Kevin M. Geraldi, DMA, Instrumental conducting (Associate Director of Bands, Director of Orchestras).
Kristopher Keeton, DMA, Percussion.
Fabian Lopez, DMA, Violin.
Rebecca MacLeod, PhD, Music education.
Clara O’Brien, MM, Voice.
Carole Ott, DMA, Choral conducting.
Irna Priore, PhD, Music theory.
Kailan R. Rubinoff, PhD, Musicology.
Alejandro H. Rutty, PhD, Composition.
Anthony Taylor, DMA, Clarinet.
Joan Titus, PhD, Musicology.
Lecturer
Levone Tobin Scott, MM, Voice.
Overview
Aspects of Music Study
The School of Music, Theatre, and Dance is an accredited institutional member of the National Association of Schools of Music, the National Association of Schools of Theatre, and the National Association of Schools of Dance. The requirements for entrance and graduation as set forth in this Bulletin are in accordance with the published regulations of those Associations. The School of Music, Theatre, and Dance is the representative of the state of North Carolina to the National Association of Music Executives in State Universities. The School of Music, Theatre, and Dance enjoys national recognition as a leader in graduate music, theatre, and dance education.
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 Post-Master’s Certificates in music theory pedagogy and ethnomusicology. 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. (MM 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 appropriate academic office, preferably on regularly scheduled audition dates (DMA 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. PhD 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
Recital and Concert Opportunities
The University Concert/Lecture Series and the School of Music, Theatre, and Dance 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, Theatre, and Dance faculty and students.
Facilities
The Music Building is a recently constructed, three-level, 130,000 square-foot facility located prominently on the corner of Market and McIver Streets, 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.
Music Performance Studies
Advance approval is required for all registration in music performance studies. Inquire with the Associate Dean in the School of Music, Theatre, and Dance 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.
PBC Post-Baccalaureate Certificate in BioMusic
The Post-Baccalaureate Certificate in BioMusic requires 18 semester hours and provides students interdisciplinary, sate-of-the art knowledge, methodologies, and skills needed to effectively participate in BioMusic research and teaching. The coursework will provide innovative, relevant foundational knowledge and experiences that reflect the changing perspective of the 21st century on the role of music and music-making’s fundamentals in humans and other species.
Application and Admission
Applicants must submit all application materials by the appropriate deadline for the Fall, Spring, or Summer admission.
Certificate Requirements
Required Course (3 hours)
MUS 667 BioMusic Grounding and Practice (3)
Qualifying Electives (9 hours)
Three semester hours must be taken outside of MTD, MUE, and MUS.
MTD 638 Exploring Musical Cultures (3)
MUE 618 Psychology of Music (3)
MUE 619 Acoustics of Music (3)
MUE 659 Philosophy of Music (3)
MUS 631 Selected Topics in Ethnomusicology (3)
ATY 555 Human Evolution (3)
ATY 557 Primate Behavior (3)
BIO 606 Seminar in Evolutionary Biology (3)
BIO 625 Advanced Animal Behavior (3)
CSD 630 Fundamentals for Speech and Language Analysis (3)
CSD 632 Introduction to Research in Communication Sciences and Disorders (3)
CST 502 Semiotics of Everyday Life
CST 601 Engaging Communication Theories (3)
CST 602 Engaging Communication Research Methodology (3)
CST 632 Introduction in Relational Communication (3)
PSY 625 Advanced Animal Behavior (3)
PSY 643 Developmental Psychology (3)
PYS 652 Cognitive Processes (3)
PSY 735 Seminar on Contemporary Issues (3)
SOC 616 Advanced Research Methods (3)
SOC 619 Practicum in Evaluative Research (3)
MLS 610 Culture and Ideas (3)
MLS 620 Human Nature and Society (3)
MLS 630 Scientific Reasoning (3)
Research/Independent Study (3 hours)
MUS 697 Directed Study in Music (3)
Post-Baccalaureate Certificate in Ethnomusicology
The Post-Baccalaureate Certificate in Ethnomusicology requires 15 hours and provides students with global breadth and awareness of multiple music trasditions as well as theoretical principles and practical applications of ethnomusicology.
Application and Admission
In addition to the application materials required by The Graduate School, applicants must:
• submit a writing sample showing significant engagement with music and culture.
• provide a statement of intent outlining their background in ethnomusicology and their particular goals and interests.
• interview with participating faculty.
Certificate Requirements
Options will be decided in consultation with the student's advisor.
Required Courses
MUP 677 World Music Ensemble (Old Time, West African, etc.) (2) (two semesters)
MUS 606 Seminar in Music History: Theory and Methods in Ethnomusicology (3) (offered once every two years)
MUS 689 Practicum in Teaching Music Theory and Musicology (1)
Two of the following courses
MUE 627 Issues in Multicultural Music Education (3)
MUS 606 Seminar in Music History: Ethnomusicology/Musicology (3)
MUS 631 Selected Topics in Ethnomusicology (3)
One 500/600-level Social Science/Humanities elective:
ATY 583 Culture and Society (3)
MLS 610 Culture and Ideas (3)
Or other in consultation with advisor
MM - Master of Music in Music Composition
The MM in Music Composition requires 32 semester 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. The capstone experience is a required written comprehensive examination* in the final semester.
Application and Admission
In addition to the application materials required by The Graduate School, applicants must submit a personal statement. Samples of work are required and should be forwarded directly to the Music office. Some applicants may need to submit a resume/vita and/or participate in an interview or audition. Contact the Music office for more information.
Degree Requirements
Core (6 hours)
MUS 602 Research Seminar in Music History (3)
MUS 606 or 611 (3)
Composition (6 hours)
MUS 551/552/651 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 Media Studies may be used as an elective.
Recital (NC)
MUP 600 Recital (0)
Thesis (3 hours)
MUS 699 Thesis (3)
MM - Master of Music in Music Education
The MM in Music Education requires 34 semester 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.
Application and Admission
In addition to the application materials required by The Graduate School, applicants must submit PRAXIS scores. The GRE is not required; however, the GRE is required for applicants who wish to be considered for university-wide competitive fellowships and scholarships.
Degree Requirements
Core (6 hours)
MUE 601 Research Methods in Music (3)
One of the following: MTD 674; MUP 628; MUS 606, 611, 660, 662
Professional (17 hours)
MUE 650
MUP 639a or b
2 credit hours of ensemble or MUS 553 performance study
9 hours from MUE 605, 633, 634, or MUS 653
Music Electives (9 hours)
A minimum of two 3-hour courses is required.
Portfolio (2 hours) (Capstone Experience)
MUE 692a,b Portfolio Development in Music Education (2)
Elective Concentrations
In addition to the requirements listed above, students may elect to pursue one of five concentrations as they complete the degree requirements, without taking additional course work beyond 34 hours. The concentrations are listed below.
Elementary/General Concentration
MUE 633, 634, 645, 678
MUE 605 or 653
Choral Literature/Conducting Concentration
MUP 541
MUS 553 (Conducting or Voice) (3)
2 hours from the following: MUP 680, 681, 682, or 688
Strings Pedagogy Concentration
MUE 657
MUP 603
MUS 553 Primary String Instrument (2)
MUS 553 Additional Performance Study (3)
Winds and Percussion Concentration
MUE 657
MUS 553 Primary Wind or Percussion Instrument (2)
MUS 553 Additional Performance Study (3)
Select one course from the following: MUP 604, 607, or 608
Secondary Choral/General Concentration
MUE 633, 634, 656, 678
MUE 605 or 653
MM - Master of Music in Music Performance
The MM in Music Performance requires 32 semester hours for all concentrations except organ, which requires 34 semester hours, and vocal pedagogy, which requires 35 semester hours. A diagnostic examination is administered prior to the first semester of enrollment. The capstone experience is a required written comprehensive examination in the final semester.
Application and Admission
In addition to the application materials required by The Graduate School, applicants must submit a personal statement. Some applicants may need to submit a resume/vita and/or participate in an interview or audition. Contact the Music office for more information. The GRE is not required; however, the GRE is required for applicants who wish to be considered for university-wide competitive fellowships and scholarships.
Degree Requirements
Enrollment in performance studies at the 652 level is required during the semester of recital performance.
Instrumental Department students must perform in an ensemble each semester. The ensemble will be selected by the Department Chair in consultation with the ensemble directors, the performance teacher, and the student.
Accompanying and Piano Chamber Music
Nine hours of language are required for accompanying and piano chamber music 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; however, these hours will not count toward the degree.
Performance Courses in the Major (21 hours)
MUS 551/552/651/652/553 (553 should be one hours of harpischord or fortepiano)
MUP 513b Performance of Art Song Repertoire (four semesters) (4)
MUP 648 Chamber Music (four semesters) (4)
MUP 600 Recital (Two accompanying recitals are required (0)
Recital repertoire should include representative selections from vocal, string, and wind literature. At least one work may be played on either the harpischord or fortepiano.
Courses in Support of the Major (12 hours)
MUE 601 or 602 (3)
One of the following: MUS 606, 611, 660, 662
Two of the following: MUS 511’ MUP 521, 620, 621, 637, 670, 671, 673, 697
One semester of undergraduate conducting, two semesters of undergraduate diction including study of German and/or French diction, at least two semesters of undergraduate vocal study, and a history of participation in collegiate choral ensembles during the undergraduate degree must be satisfactorily credited on a college transcript. Deficiency in conducting study, voice study, and diction hours may be resolved with appropriate enrollment while working on the current degree; however, these hours will not count toward the degree.
Courses in the Major (17 hours)
Performance Studies (8 hours)
MUS 551/552/651/652
Ensemble (4 hours) by audition placement
MUP 680, 681a, 681b, 682, 688
Pedagogy (3 hours)
MUP 541 (3)
Secondary Keyboard or Vocal Performance Study (2 hours)
MUS 553 (2)
Recital (NC)
MUP 600 (0)
Courses in Support of the Major (12 hours)
MUE 601 or 602 (3)
MUP 622 (6)
One of the following: MUS 611, 662, 664 (3)
Electives (3 hours)
Courses in the Major (15 hours)
Performance Studies (12 hours)
MUS 551/552/651/652
Ensemble (placement by audition) (2 hours)
Recital (NC)
MUP 600 Recital (0)
Courses in Support of the Major (12 hours)
MUE 601, 602 or MUP 683 (3)
6 semester hours of any music course not in the major
Electives (5 hours)
MUS 302 or 303 Keyboard Harmony or proficiency required (not graduate credit)
Courses in the Major (16 hours)
Performance (harpsichord or fortepiano) (12 hours)
MUS 551/552/651/652
Secondary Performance Studies (second keyboard instrument - organ, fortepiano, harpsichord, clavichord) (2 hours)
MUS 553
Ensemble (2 hours)
MUP 648 Chamber Music with Harpsichord or Forepiano
Recital (NC)
MUP 600 Recital (0)
Courses in Support of the Major (12 hours)
MUE 601 or 602 (3)
MUP 613
One of the following: MUS 508, 611, 662 (3)
One of the following: MUS 530, 606 (3)
Music Electives (4 hours)
Courses in the Major (17 hours)
Performance (12 hours)
MUS 551/552/651/652
Pedagogy (3 hours)
MUP 500
Ensemble (2 hours)
Recital (NC)
MUP 600 Recital (0)
Courses in Support of the Major (15 hours)
MUS 602 (3)
Theory (6 hours)
MUS 508 (If tonal counterpoint is credited on the undergraduate transcript with a grade of B or better from a NASM-accredited school, they may instead take a non-restricted music elective.)
MUS 510 (3)
Area Literature (6 hours)
MUP 613 (3)
MUP 668 (3)
Choral Conducting (2 hours)
MUP 629 (2)
Courses in the Major (17 hours)
Performance (12 hours)
MUS 551/552/651/652
Pedagogy (3 hours)
MUP 612
Ensemble (2 hours)
Usually selected from MUP 513 or 648
Recital (NC)
MUP 600 Recital (0)
Courses in Support of the Major (15 hours)
MUE 601 or 602 (3)
MUP 613 (3)
MUP 614 (3)
MUP 620 (3)
MUS 606 (3)
Music Electives (10 hours)
Return to Top of PageMUS 302 or 303 Keyboard Harmony or proficiency required (will not count toward the degree).
Courses in the Major (20 hours)
Performance (12 hours)
MUS 551/552/651/652
Pedagogy (6 hours)
MUP 612 (3)
One of the following: MUP 609, 616, 617, 620, 672, MUE 632, 645, MUS 644
Lecture/Demonstration and Paper (2 hours)
MUP 610
Courses in Support of the Major (12 hours)
MUE 601 or 602 (3)
MUP 613 (3)
MUP 614 (3)
Any graduate music course not in the major (3)
Courses in the Major (17 hours)
Performance (12 hours)
MUS 551/552/651/652
Ensemble (by audition placement) (4 hours)
Recital (1)
MUP 600 (1)*
Courses in Support of the Major (12 hours)
MUP 683 (3)
Any graduate music courses not in the major (MUE 601 or 602 are recommended (9)
Electives (3 hours)
*Students may perform one additional recital to fulfill elective hours.
Vocal pedagogy requires 35 hours. Twelve (12) hours of language are required for vocal pedagogy majors—one semester each of French, German, and Italian plus a second semester of 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 degree. Students with native fluency in one of the required languages may petition the Director of Vocal Studies to satisfy this requirement as appropriate.
Courses in the Major (19 hours)
Performance (9 hours)
MUS 551/552/651/652 (8)
MUP 647 Vocal Coaching (1)
Pedagogy (6 hours)
MUP 541, 641
Ensemble (by audition placement) (2 hours)
MUP 680, 681a, 681b, 682, 688
Lecture/Demonstration and Paper (2 hours)
MUP 610 (2)
Recital (NC)
MUP 600 Recital (0)
Courses in Support of the Major (12 hours)
MUE 601 or 602 (3)
MUP 521 or 522
One of the following in music theory: MUS 508, 510, 611, 644, 660, 662, 664
One of the following: a 500-level music history course, a 500-level music literature course, MUS 606 if it a vocal topic)
Music Electives (4 hours)
Twelve (12) hours of language are required for voice majors—one semester each of French, German, and Italian plus a second semester of 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 degree. Students with native fluency in one of the required languages may petition the Director of Vocal Studies to satisfy this requirement as appropriate.
Courses in the Major (16 hours)
Performance (11 hours)
MUS 551/552/651/652 (8)
MUP 647 (1)
MUP 675 (2)
Pedagogy (3 hours)
MUP 541 (3)
Ensemble (by audition placement) (2 hours)
MUP 680, 681a, 681b, 682, 688
Recital (NC)
MUP 600 Recital (0)
Courses in Support of the Major (12 hours)
MUE 601 or 602 (3)
MUP 521 or 522 (3)
Music theory course (eg. MUS 508, 510, 611, 644, 660, 664; MUP 663) (3)
One of the following: a 500-level music history course, a 500-level music literature course, MUS 606 if it a vocal topic)
Music Electives (4 hours)
Courses in the Major (20 hours)
Performance Studies (15 hours)
MUS 551/552/651/652 (8 hours-principal, 4 hours-minor, 1 hour each-3 secondary)
Must show 652 proficiency on principal instrument
Must show 552 proficiency on minor instrument (principal and minor instruments must be non-alike)
Must study for 1 hour credit on remaining 3 instruments (553) (jury required)
Ensemble (placement by audition) (4 hours)
Recital (1 hour)
MUP 600 Recital (0)
Must include at least two instruments
Course in Support of the Major (12 hours)
MUP 683 (3)
Any graduate music course not in the major (MUE 601 or 602 recommended) (9)
MM - Master of Music in Music Theory
The MM in Music Theory requires 34 semester hours. Thesis and non-thesis options are offered. 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. The capstone experience is a required written comprehensive examination in the final semester.
Application and Admission
In addition to the application materials required by The Graduate School, applicants must submit a personal statement. Samples of work are required and should be forwarded directly to the Music office. Some applicants may need to submit a resume/vita and/or participate in an interview or audition. Contact the Music office for more information.
Degree Requirements
Core (6 hours)
MUS 602 (3)
MUS 606 (3)
Performance (2 hours)
MUS 553, performance, composition, or conducting
Electives (3 hours)
Recommended: MUS 618, 619, 654, history and literature, composition or electronic music, or improvisation
Thesis Option
Major Courses (18 hours)
MUS 611, 644, 660, 662, 664, 690
Thesis (5 hours)
MUE 699 (5)
Non-Thesis Option
Major Courses (21 hours)
MUS 507 or 508 or 510, 611, 644, 660, 662, 664, 690
Document (2 hours)
MUS 698 (2)
Examples:
Paper (shorter than thesis) presented to an audience
Teaching portfolio
Lecture recital
Post-Master's Certificate in Music Theory Pedagogy
Within the PhD or DMA program, 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.
Certificate Requirements
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)
DMA - Doctor of Musical Arts in Performance
The DMA in Performance requires a minimum of 90 semester hours of 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 DMA 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.
Application and Admission
In addition to the application materials required by The Graduate School, DMA applicants must submit a repertory list and writing sample. The GRE is not required; however, the GRE is required for applicants who wish to be considered for university-wide competitive fellowships and scholarships.
Degree Requirements
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:
MUE 605, 618, 627, 633, 634, 645, 646, 649, 650, 653, 658, 659, 678, 750
MUP 628, 749
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 Graduate Music 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, students 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 Music. Cognates outside 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)
MUP 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 DMA in performance, students may elect to fulfill the requirements for a 12-hour minor in early keyboard instruments. The following courses are required:
MUP 613 Keyboard Literature I (to c. 1800) (3)
MUP 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 553 Secondary Performance Studies (in harpsichord and/or fortepiano) (6) (Registration may be for one or two hours per semester.)
PHD - Doctor of Philosophy in Music Education
The PhD in Music Education requires 69 semester hours. 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.
Application and Admission
In addition to the application materials required by The Graduate School, applicants must submit a writing sample. Some applicants may need to submit a resume/vita and/or participate in an interview or audition. Contact the Music office for more information. The GRE is not required; however, the GRE is required for applicants who wish to be considered for university-wide competitive fellowships and scholarships.
Degree Requirements
Music Education (18 hours)
Select from MUE 605, 618, 619, 633, 634, 645, 650, 653, 750, and 797
Research (12 hours)
ERM 680, ERM 681, MUE 601, MUE 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 PhD are limited to 3 hours.
Music History and/or Theory (6 hours)
Dissertation (12 hours)
MUE 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 PhD Handbook for details.
MTD School of Music, Theatre, and Dance Courses
555 The Alexander Technique for Performers (3:3)
Active and scholarly exploration of the Alexander Technique to unlock creativity, discover freedom and ease in performance, reduce stress and tension throughout the body, and prevent performance related injuries.
589 Experimental Course
This number reserved for experimental courses. Refer to the Course Schedule for current offerings.
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.
654 Computers in Music Research (3:3)
Pr. MUE 601 or 602
Use of computer systems for music research. (Spring)
667 BioMusic Grounding and Practice (3:3)
Exploration of the origins of music-making in animals, including humans. Examination of music and natural sounds in contexts of biodiversity, cultural diversity, and complex communication systems.
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)
711 Experimental Course
This number reserved for experimental courses. Refer to the Course Schedule for current offerings.
801 Thesis Extension (1-3)
802 Dissertation Extension (1-3)
803 Research Extension (1-3)
MUE Music Education Courses
589 Experimental Course
This number reserved for experimental courses. Refer to the Course Schedule for current offerings.
601 Research Methods in Music (3:3)
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)
605 The Measurement of Musical Behavior (3:3)
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 (MUE 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)
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)
627 Issues in Multicultural Music Education (3:3)
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)
631 Selected Topics in Ethnomusicology (3:3)
Pr. 602
Music traditions and current issues in the field of ethnomusicology. Topics may focus on geographical areas or theoretical/methodological issues. May be repeated for credit when topic varies.
632 Methods and Materials of Music Reading Instruction (3:2:2)
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)
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)
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)
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)
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 composition, education, history, performance, and theory. (Spring)
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)
692a,b Portfolio Development in Music Education (1) (1)
Pr. acceptance in MM 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 (1-12)
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)
711 Experimental Course
This number reserved for experimental courses. Refer to the Course Schedule for current offerings.
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.
799 Dissertation (1-12)
801 Thesis Extension (1-3)
802 Dissertation Extension (1-3)
803 Research Extension (1-3)
MUP Music Performance 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.
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)
Pr. voice, choral conducting,or accompanying major, or permission of instructor
Survey of non-operatic solo vocal repertoire: Italian (Baroque and Classical), German, Nationalistic, Spanish. Brief historical study of major composers, poets, compositional style and historical periods.
522 Song Literature II (3:3)
Pr. voice, choral conducting, or accompanying major, or permission of instructor
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)
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)
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)
589 Experimental Course
This number reserved for experimental courses. Refer to the Course Schedule for current offerings.
600 Recital (0-1)
Pr. permission of instructor
Performance of a faculty approved repertoire selection of approximately 50 minutes of music. (Graded on S-U basis) (Fall, Spring, and Summer)
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 Fall)
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. (Odd Fall)
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)
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.
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)
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.
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.
631 Selected Topics in Ethnomusicology (3:3)
Pr. 602
Music traditions and current issues in the field of ethnomusicology. Topics may focus on geographical areas or theoretical/methodological issues. May be repeated for credit when topic varies.
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)
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).
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.
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)
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)
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)
683 Instrumental Literature and Performance Practice (3:3)
Survey of solo and chamber literature from the 17th century to the present. Emphasis on historical perspectives, development of instrumental genres, performance practices, listening, and general score analysis.
697 Directed Study in Music Performance (1-6)
Pr. permission of supervising professor; Director of Graduate Study, and Dean
Supervised advanced research requiring a written document or composition.
703 Research Methods for Performers (3:3)
Pr. admission to the DMA 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 DMA dissertation document.
711 Experimental Course
This number reserved for experimental courses. Refer to the Course Schedule for current offerings.
748 Practicum in Instrumental Pedagogy (3:3)
Pr. 651 or higher in performance studies or permission of instructor
Provides advanced knowledge of and practical experience in instrumental pedagogy through an interdisciplinary approach in areas of anatomy, physiology, kinesiology, pathology, technology, psychology, and applied performance.
749 College Teaching: The Tenure Track (3:3)
Pr. admission to a terminal degree program in the School of Music, Theatre, and Dance
Issues related to teaching performing arts in higher education. Topics include curriculum design, teaching methods, evaluation, promotion, school/departmental structure, job searching/resume preparation, copyright, publication, etc. (Spring)
797 Directed Study in Music Performance (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.
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
Chamber literature for winds, strings and percussion from all eras, including contemporary works for this medium. May be repeated when repertoire varies.
648 Chamber Music (1:0:1)
Pr. permission of instructor
Group 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 graduate and advanced undergraduate singers. Membership by audition.
691 University Orchestra (1:0:4)
Full symphony orchestra, performing 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.
695a Jazz Ensemble (1:0:3)
695b Jazz Band (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)
MUS Music Composition, Ethnomusicology, Musicology and Theory Courses
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)
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)
529 Music before 1600 (3:3)
Pr. 332 or permission of instructor
Examination of musical traditions from before 1600 beyond the survey level. Topics may include gender/ sexuality, geography, institutions, orality, performance practice, print/manuscript culture, and/or religion.
530 Music from 1600-1800 (3:3)
Pr. 332 or permission of instructor
Examination of musical traditions from ca. 1600-1800 beyond the survey level. Topics may include performance practice, nationalism, gender/ sexuality, religion, orality/notation, organology and iconography
532 Music of the Nineteenth Century (3:3)
Pr. 333 or permission of instructor
Examination of musical traditions from ca. 1789-1914 beyond the survey level. Topics may include gender/sexuality, institutions, nationalism, nature, performance practice, and/or religion.
533 Music of the Twentieth-Century (3:3)
Pr. 333 or permission of instructor
Examination of musical traditions from ca. 1880 to present beyond the survey level. Topics may include music and the State, gender/ sexuality, ethnicity and identity, cultural policy/politics, religion, multimedia.
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)
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. (Fall)
589 Experimental Course
This number reserved for experimental courses. Refer to the Course Schedule for current offerings.
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)
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)
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.
631 Selected Topics in Ethnomusicology (3:3)
Pr. 602
Music traditions and current issues in the field of ethnomusicology. Topics may focus on geographical areas or theoretical/methodological issues. May be repeated for credit when topic varies.
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)
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)
660 Theory and Analysis of Rhythm (3:3)
Survey of theories and analytical approaches regarding the temporal organization of music. (Odd Fall)
661 Entrepreneurial Career Development in Music (3:3)
Focus on the entrepreneurship knowledge, skills, and career development to enable students to become the architect of his/her future. (Same as ENT 661)
662 Schenkerian Analysis (3:3)
Pr. 508 or equivalent
Theories and analytical methods of Heinrich Schenker as applied to masterworks of the tonal repertory. Selected readings from Schenkerian literature. (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)
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
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)
697 Directed Study in Music Composition, Ethnomusicology, Musicology and Theory (1-6)
Pr. permission of supervising professor; Director of Graduate Study, and Dean
Supervised advanced research requiring a written document or composition.
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)
702 Musicological Research for Performers (3:3)
Pr. 602 or equivalent
Research problems and methodologies for doctoral-level performing musicians. Computer fee charged. (Spring)
711 Experimental Course
This number reserved for experimental courses. Refer to the Course Schedule for current offerings.
797 Directed Study in Music Composition, Ethnomusicology, Musicology and Theory (1-12)
Pr. permission of supervising professor; Director of Graduate Study, and Dean
Supervised advanced research requiring a written document or composition.
799 Dissertation (1-12)
801 Thesis Extension (1-3)
802 Dissertation Extension (1-3)
803 Research Extension (1-3)