Graduate Index |
Jamal J. Rossi, Dean
Andrew D. Gowan, Associate Dean
William H. Bates, Director of Graduate Studies
Professors
William H. Bates, D.M., Indiana University, 1978
Christopher B. Berg, M.M., Peabody Conservatory, 1977
Laury Christie, M.A., University of Missouri, 1960
Richard Conant, D.M.A. , University of Texas (Austin), 1977
James K. Copenhaver, M.M.Ed., Morehead State University, 1971
Jerry L. Curry, Ph.D., University of Iowa, 1969
Ronald A. Davis, D.M.A., University of Southern California, 1984
Samuel O. Douglas, D.M.A., Louisiana State University, 1972
Charles L. Fugo, D.M., Indiana University, 1973
Robert Douglas Graham, M.M., University of Texas, 1973
Donald N. Gray, D.M. , Northwestern University, 1972
Robert Jesselson, D.M.A., Rutgers University, 1990
Constance G. Lane, D.M.A., Louisiana State University, 1979
William J. Moody, Ph.D., University of Minnesota, 1965
Dorothy K. Payne, Ph.D., Eastman School of Music, 1974
Donald C. Portnoy, D.M.A., Peabody Conservatory, 1972
Ira M. Koger Professor of Fine Arts
Robert S. Pruzin, M.M., Catholic University of America, 1974
Larry D. Wyatt, Ph.D., Florida State University, 1974
Associate Professors
A. Keith Amstutz, D.M.E., University of Oklahoma, 1970
Reginald Bain, D.M., Northwestern University, 1990
Georgia J. Cowart, Ph.D., Rutgers University, 1980
Talmage Fauntleroy, M.M., Howard University, 1977
Andrew D. Gowan, D.M.A., University of South Carolina, 1987
Frits de Jonge, M.A., University of Iowa, 1966
George B. Lane, D.M.A., University of Texas, 1975
Clifford L. Leaman, D.M.A., University of Michigan, 1988
Bert Ligon, M.M., University of North Texas, 1988
Rebecca S. Nagel, D.M.A., State University of New York at Stony Brook, 1987
William B. Terwilliger, D.M.A., Eastman School of Music, 1990
Wendy Hicks Valerio, Ph.D., Temple University, 1993
W. John Williams, M.M., North Texas State University, 1961
Assistant Professors
Gail V. Barnes, Ph.D., Ohio State University, 1998
Tonya Currier, M.M., New England Conservatory, 1985
Walter E. Cuttino, M.M., University of Cincinnati, 1982
Bradley W. Edwards, D.M.A., Johns Hopkins University, Peabody Conservatory of Music
Julie B. Hubbert, Ph.D., Yale University, 1996
Rebecca W. Oettinger, Ph.D., University of Wisconsin, 1999
David A. O’Shields, D.M.A., University of South Carolina, 2000
T. Scott Price, D.M.A., University of Oklahoma, 1996
John Fitz Rogers, D.M.A., Cornell University, 1996
Stephen P. Taylor, D.M.A., University of South Carolina, 1991
Stephen F. Zdzinski, Ph.D., Indiana University, 1993
Lecturer
John D. Keene, M.M., University of Southern California, 1983
Distinguished Professors Emeriti
John Kenneth Adams, M.M., Yale University, 1959
Manuel Alvarez, Ph.D., State University of New York at Buffalo, 1980
John Alden Bauer, D.M., Florida State University, 1969
Gene Ferguson, M.M., Louisiana State University, 1955
Gordon R. Goodwin, D.M.A., University of Texas, 1969
James A. Hall, M.M.E., North Texas State University, 1969
Luise E. Peake, Ph.D., Columbia University, 1968
Roger Pemberton, M.M., Indiana University, 1961
Fred W. Teuber, Ph.D., University of Iowa, 1963
Robert L. Van Doren, M.A., Columbia University, 1941
Emeriti Faculty
James D. Pritchard, M.S., Juilliard School of Music, 1949
Nell J. Sins, Ed.D., University of Georgia, 1976
Overview
With approximately 350 undergraduate and 150 graduate students, the School of Music is a comprehensive professional school that offers the Certificate of Graduate Study in Music Performance; the Master of Music degree in performance, composition, conducting, jazz studies, music history, music theory, opera theatre, or piano pedagogy; the Master of Music Education degree; the Doctor of Musical Arts degree in performance, composition, conducting, or piano pedagogy; and the Doctor of Philosophy degree in music education.
The Certificate of Graduate Study and all master’s programs are available to applicants who have developed skills or knowledge in the major area beyond that expected of a typical undergraduate student. Both doctoral degrees are appropriate for those who desire to teach at the college level. The D.M.A. is a practice-oriented degree available to applicants who evidence not only exceptional abilities in the major area but well-developed musical intelligence and ongoing scholarly interest as well. The Ph.D. in music education is a research-oriented program, and applicants are expected to demonstrate a record of successful teaching experience in elementary or secondary schools, to offer evidence of academic excellence and ongoing scholarly inquiry, and to demonstrate the ability to conduct independent research. All master’s and doctoral programs require a comprehensive, functional knowledge of music history, music literature, and music theory. Specific requirements for graduate music programs are listed in Graduate Studies in Music, available from the music graduate office by phone at 803-777-4106 or via e-mail at gradmusic@mozart.sc.edu and on the school’s Web site (www.music.sc.edu) under "Academic Programs." The School of Music is accredited by the National Association of Schools of Music.
Certificate of Graduate Study in Music Performance
Applicants must have earned an undergraduate degree (or the equivalent) in music performance, complete an on-campus audition (a taped audition may be sufficient for consideration of provisional admission), and fulfill the general requirements for admission to The Graduate School, including the submission of three recommendations preferably written on School of Music forms.
Applicants whose native language is not English must submit a TOEFL score of at least 570 (230 computer-based score). The program requires the completion of at least 18 approved graduate credits in music. Specific program requirements are listed in Graduate Studies in Music.
Master of Music
Admission
The general requirements for admission are: an undergraduate degree in music (or the equivalent); satisfactory score on the general section (verbal/quantitative/analytic) of the Graduate Record Examination or the Miller Analogies Test; and fulfillment of the general requirements for admission to The Graduate School, including the submission of three recommendations preferably written on School of Music forms. Unless they have completed an undergraduate degree at an English-speaking institution, applicants whose native language is not English must submit a TOEFL score of at least 570 (230 computer-based score). Admission decisions are based upon the applicant’s total application portfolio, with particular weight given to the audition (for those applying in the area of conducting, jazz performance, opera theatre, performance, or piano pedagogy), composing experience (composition or jazz), or research/writing abilities (music history, music theory, or the thesis track in piano pedagogy).
Degree Requirements
Master’s degree students must take the Graduate Music Diagnostic Examination, and, early in their studies, complete all deficiencies and required courses resulting from the exam. Degree candidates must complete a prescribed program of 32 hours of graduate work and successfully pass an oral comprehensive examination. In addition, candidates in conducting or performance must present one full recital, and those whose performance medium is an orchestral instrument must also perform a concerto; candidates in composition must complete a thesis consisting of a musical work of major proportions; candidates in music history or music theory must complete a written thesis; and candidates in piano pedagogy must present a solo recital or complete a written thesis. Specific program requirements are listed in Graduate Studies in Music.
Master of Music Education
Admission
The requirements for admission are: an undergraduate degree in music education, including a valid teacher certificate; satisfactory score on the general section (verbal/quantitative/analytic) of the GRE or the Miller Analogies Test; an interview; and fulfillment of the general requirements for admission to The Graduate School, including the submission of three recommendations preferably written on School of Music forms. Unless they have completed an undergraduate degree at an English-speaking institution, applicants whose native language is not English must submit a TOEFL score of at least 570 (230 computer-based score). Additional admission requirements for specific areas are listed in Graduate Studies in Music. Admission decisions are based upon the applicant’s total portfolio with particular weight being given to knowledge of and experience in elementary or secondary music teaching, the audition (for those desiring to present a recital), or research/writing abilities (for those desiring to write a thesis).
Degree Requirements
All M.M.E. degree students must take the Graduate Music Diagnostic Examination and, early in their studies, complete all deficiencies and required courses resulting from the exam. Degree candidates must complete a prescribed program of 32 hours of graduate work and successfully pass an oral comprehensive examination. In addition, candidates must complete a written thesis or present one full recital. Another option requires 35 hours but no thesis or recital. Specific program requirements are listed in Graduate Studies in Music.
Doctor of Musical Arts
Admission
The general requirements for admission are: a master’s degree in music (or the equivalent); satisfactory score on the general section (verbal/quantitative/analytic) of the GRE or the Miller Analogies Test; evidence of an ability to pursue doctoral study in the desired area (see Graduate Studies in Music); and fulfillment of the general requirements for admission to The Graduate School, including the submission of three recommendations preferably written on School of Music forms. Unless they have completed an undergraduate degree at an English-speaking institution, applicants whose native language is not English must submit a TOEFL score of at least 600 (250 computer-based score). Additional admission requirements for specific areas are listed in Graduate Studies in Music. The D.M.A. in Performance is offered in selected areas. Admission decisions are based upon the applicant’s total portfolio with particular weight being given to the audition (for those applying in the area of conducting, performance, or piano pedagogy) or composing experience (composition).
Degree Requirements
Doctoral degree students must take the Graduate Music Diagnostic Examination and, early in their studies, complete all deficiencies and required courses resulting from the exam. Students pursuing the D.M.A. must be admitted to degree candidacy no later than the completion of the equivalent of two semesters of full-time study (12 credits total for graduate assistants and 18 credits total for others) and must complete a minimum of 48 credit hours of graduate work past the master’s degree. At least 18 of the credit hours must be completed as part of doctoral residency (18 approved credits taken within a span of three consecutive semesters, with at least one semester being spent in full-time study on the Columbia campus). Prior to the scheduling of the comprehensive examination, degree candidates must have satisfied reading proficiency in a foreign language. Candidates for the D.M.A. must also complete written comprehensive examinations in the major area (and any minor area) as well as an oral comprehensive examination that covers the major area, music history/literature, music theory, and any doctoral minor. In addition, degree candidates must complete a dissertation or dissertation requirement, as follows: Those in conducting or performance must present four full recitals and submit a research document; candidates in composition must complete a dissertation consisting of a musical work of major proportions; and candidates in piano pedagogy must complete a written dissertation or present two recitals and complete a written treatise. The final doctoral requirement is the successful oral defense of the dissertation or dissertation requirement. Specific program requirements are listed in Graduate Studies in Music.
Doctor of Philosophy
Admission
The general requirements for admission are: a master’s degree in music education (or the equivalent); satisfactory score on the general section (verbal/quantitative/qualitative) of the GRE or the Miller Analogies Test; master’s thesis or equivalent demonstration of the ability to undertake and complete significant, original scholarly work; evidence of at least two years of successful teaching at the elementary or secondary level; an interview; and fulfillment of the general requirements for admission to The Graduate School, including the submission of three recommendations preferably written on School of Music forms. Unless they have completed an undergraduate degree at an English-speaking institution, applicants whose native language is not English must submit a TOEFL score of at least 600 (250 computer-based score). Additional admission requirements for specific areas are listed in Graduate Studies in Music. Admission decisions are based upon the applicant’s total portfolio with particular weight being given to a record of successful music teaching at the elementary or secondary level and documented evidence of an ability to undertake and complete significant, independent research and writing.
Degree Requirements
Prior to taking any graduate music study, all doctoral degree students must take the Graduate Music Diagnostic Examination and, early in their studies, complete all deficiencies or courses resulting from the exam. Doctoral students must be admitted to degree candidacy no later than the completion of the equivalent of two semesters of full-time study (12 credits total for graduate assistants and 18 credits total for others) and must complete a minimum of 48 credit hours of graduate work past the master’s degree. At least 18 of the credit hours must be completed as part of doctoral residency (18 approved credits taken within a span of three consecutive semesters, with at least one semester being spent in full-time study on the Columbia campus). Prior to the scheduling of the comprehensive examination, degree candidates must have satisfied reading proficiency in a foreign language. Doctoral candidates in music education must also complete written comprehensive examinations in music education (and any minor area) as well as an oral comprehensive examination that covers music education, music history/literature, music theory, and any doctoral minor. In addition, degree candidates must complete a written dissertation. The final doctoral requirement is the successful oral defense of the dissertation. Specific program requirements are listed in Graduate Studies in Music.
Course Descriptions (MUSC)
Theory and Composition
- 514–Music Calligraphy. (1) (Prereq: consent of instructor) Techniques for copying and reproducing musical scores and parts.
- 515–Orchestration. (3) A study of the instruments of the orchestra and band, their possibilities and limitations individually and in ensemble. Practical experience in scoring and arranging for small orchestra and band.
- 516–Composition. (2—4) Original composition. Repeatable for credit.
- 518–Form and Analysis. (3) Examination of fundamental principles of musical forms; analysis of representative tonal works.
- 520–Studio Arranging and Composition. (3 per registration; 12 maximum) (Prereq: consent of instructor) Instruction and practice in arranging and composing in various jazz and commercial music styles and genres. May be repeated for credit.
- 523–Applications of Music Theory. (3) (Prereq: permission of advisor) Further development of melodic, harmonic, rhythmic skills through analysis, writing, and ear training. Practical uses for theory such as melody harmonization at the keyboard, and vocal and instrumental arranging.
- 525–Post-Tonal Music Theory. (3) (Prereq: MUSC 216) Studies in post-tonal theoretical techniques and analysis.
- 526–Analytical Studies. (3) Analytical techniques applied to music of a particular style, period, or genre. May be repeated for a total of nine credits. Topic for any semester to be announced by suffix and title in the schedule of classes.
- 528–Seminar in Music Theory. (3) Advanced studies in music theory. Individual projects. Three meetings per week.
- 529–Eighteenth-Century Counterpoint. (3) Analysis and writing in contrapuntal forms with emphasis on the style of Bach.
- 530–Sixteenth-Century Counterpoint. (3) Analysis and writing in contrapuntal forms with emphasis on the style of Palestrina.
- 715–Analysis and Performance. (3) Performance and interpretive considerations through the study of music on a technical basis. Observations of unity/variety and tension/repose, the interaction of music’s materials, and the sources for growth and shape.
- 716–Composition. (2—4) Original composition. May be repeated for credit.
- 717–Advanced Orchestration. (3) Advanced orchestral arranging and score study, principles or score identification, and historical survey of orchestration practices and styles.
- 718–Band Arranging. (3) Characteristics and use of individual instruments; writing for separate choirs, chamber and solo writing; scoring piano, organ, and orchestra music for band.
- 719–Choral Arranging. (3) Practice in arranging and composing in the choral medium with emphasis on choral groups of the junior and senior high schools.
- 720–Pedagogy of Music Theory. (3) Concepts, techniques, and materials for teaching music theory.
- 722–Symphonic Analysis. (3) Analysis of orchestral music from the 17th to the 20th centuries with respect to form, tonal language, and orchestration.
- 723–Baroque Styles. (3) Baroque styles, forms, and performance practices.
- 724, 725–Contemporary Styles. (3 each) A study of the techniques of twentieth-century composition through writing in individual styles. The first semester (MUSC 724) is concerned with composers such as Bartok, Stravinsky, and Schoenberg. The second (MUSC 725) concentrates on more recent music.
- 726–Topics in Music Theory. (3) Analytical techniques, advanced orchestration, arranging for the marching band, or other selected topics. May be repeated as topic varies.
- 727–Schenkerian Analysis. (3) Study of analytical concepts developed by Heinrich Schenker, and their application to analysis of tonal music.
- 728–Score Reading. (1—3) Practice in reducing full scores at the piano. Repeatable for a maximum of nine credit hours.
- 729–Contrapuntal Techniques. (3) Contrapuntal procedures from the 16th through the 20th centuries.
- 730–Polyphonic Music Before 1600. (3) Notation and theory of pre-tonal polyphonic music.
- 816–Composition. (2—4) Original composition. May be repeated for credit.
History and Literature
- 500A—Z–Topics in Performance and Literature. (1—3) Course content varies and will be announced in the schedule of courses by suffix and title.
- 543–Song Literature. (3) A study of the development of the solo art song, illustrated by major works of the song writers of all major nationalities.
- 544–Topics in Music History. (3) May be repeated for a total of nine credits. Topic for any semester to be announced by suffix and title in the schedule of classes.
- 545–Survey of the Opera. (3) A survey of the literature of Classic, Romantic, and modern opera, with special attention given to the recognition of the best-known works in each school. Recordings. Open to all students as an elective.
- 546–Major Choral Works. (3) Survey of major oratorios, cantatas, and masses.
- 548–Orchestra Literature. (3) Symphony, concerto, tone poem, and other symphonic works from the Classic, Romantic, and modern repertory. Changing concepts of orchestration.
- 549–Survey of Chamber Music. (3) The literature for small instrumental ensembles from the Baroque era to the present. The string quartet, divertimento, keyboard-accompanied sonata, etc.
- 553–History of Western Music. (3) (Prereq: MUSC 145 or consent of instructor) A study of music and its place in Western civilization from the middle ages through the Baroque.
- 554–History of Western Music. (3) (Prereq: MUSC 145 or consent of instructor) A study of music and its place in Western civilization from the 18th century to the present.
- 555–World Music. (3) (Prereq: MUSC 110 or equivalent) Rhythms, scales, forms, and instrument types basic to all music. European and American folk song, African and Native American tribal music, Asian music.
- 557–American Music. (3) Survey of the music composed in the United States from the colonial period to the present. The influences of European, African, Indian, and South American musical styles.
- 558–Piano Literature I. (3) Standard piano literature including major masterpieces from 1700 to 1850. Emphasis on instrumental and stylistic developments, and historical and theoretical background for interpreting the literature of the piano.
- 559–Piano Literature II. (3) Standard piano literature including major masterpieces from 1850 to present . Emphasis on instrumental and stylistic developments, and historical and theoretical background for interpreting the literature of the piano.
- 560–Renaissance Music. (3) (Prereq: MUSC 353, 354) Western music from ca. 1300 to the early Baroque; vocal and instrumental forms, national schools, and performace practices.
- 561–Music of the Baroque. (3) (Prereq: MUSC 353, 354) Music from 1600 to 1750, including Monteverdi and Schutz through Handel and Bach.
- 562–Music of the Classical Period. (3) (Prereq: MUSC 353, 354) The works of Haydn, Mozart, and Beethoven; the music of their predecessors and contemporaries; the characteristics of the Viennese classical style.
- 563–Romantic Music. (3) (Prereq: MUSC 353, 354) The music of the 19th and early 20th centuries; the relationship of music to other arts in works such as Schubert’s songs, Wagner’s drama, and Berlioz’ program symphony.
- 564–Music of the 20th Century. (3) (Prereq: MUSC 353, 354) Music from 1900 to the present; major trends in contemporary music.
- 581–The Alexander Technique. (3) Theoretical/experimental exploration of major body systems and developmental movements to bring more articulation to the body and more awareness and physical ease in performance. For music and education students.
- 585–Organ Literature I. (3) Organ literature and registration from antiquity to 1750.
- 586–Organ Literature II. (3) Organ literature and registration 1750 to the present.
- 587–Repertories of Lute, Vihuela, and Guitar. (3) (Prereq: admission to upper division guitar study) Solo literature for plucked, fretted instruments from the Renaissance into the 20th century. National styles, traits, and technical innovations included.
- 740–Music Literature. (1—3 per registration; 6 maximum) Study of the literature of a specific performance area. Repeatable for credit.
- 743–Seminar in Music History. (3) For graduate students in music and music education. Methods of historical research, and problems of aesthetics and criticism.
- 744–Topics in Music History. (3 per registration; 12 maximum) Selected topics such as: French music in the 19th century, Richard Wagner, and mensural notation. May be repeated as the topic varies.
- 746–Choral Literature. (3) Choral literature from the Renaissance to the present. Study of smaller forms in the context of composers’ contributions to the literature.
Conducting
- 733–Advanced Conducting. (3) (Prereq: One year of study in conducting or approval of instructor) Study of conducting problems in selected choral or instrumental works. A-choral; B-instrumental.
- 736–Conductors Institute. (1—3) Practicum in conducting and literature. Limited to participants in the Conductors Institute.
Applied Music
Courses consist of individual instruction including individualized assignments and regular private instruction and review.
- 501–Secondary Applied Music. (1) Repeatable for credit.
- 511–Applied Music. (1—2) Repeatable for credit.
- 811–Doctoral Applied Music. (1—4) Repeatable for credit.
Suffixes: A-flute/piccolo; B-oboe/English horn; C-clarinet; D-bassoon; E-saxophone; F-French horn; G-trumpet; H-trombone; I-euphonium; J-tuba; K-percussion; L-harpsichord; N-classic guitar; O-organ; P-piano; R-violin; S-viola; T-violoncello; U-double bass; V-voice; W-service playing; Y-conducting; Z-jazz.
Musical Organizations
- 734–Ensemble. (1) Experience in a musical ensemble such as orchestra, graduate chorus, or jazz. Repeatable for credit. Suffixes: A-symphonic band; B-wind ensemble; C-graduate vocal; D-percussion; E-Left Bank jazz; L-guitar; O-opera chorus; S-symphony orchestra; T-concert choir; U-opera orchestra; V-chamber orchestra.
- 735–Chamber Music. (1) Experience in a small musical ensemble such as a string quartet or woodwind quintet. Repeatable for credit. Suffixes: A-woodwinds; B-brass; I-strings; J-jazz combo; P-piano; R-accompanying.
Miscellaneous
- 524–Jazz MIDI Lab. (3) (Prereq: MUSC 536 or consent of instructor) Experiences in creating jazz and commerical music using current computer, synthesis, sampling, and recording technology.
- 538–MIDI Music Production. (3) A course in composition and arranging focusing on MIDI as the central production element.
- 539–Composing with Computers. (3) (Prereq: MUSC 538) An intensive survey of methods used by composers to create musical compositions with the aid of computer technology.
- 540–Projects in Computer Music. (1—3) Directed study in computer-music composition or research.
- 565–Advanced Audio Recording Techniques. {=MART 541} (3) (Prereq: MUSC 365 or consent of instructor) Multi-microphone and ambisonic stereo recording techniques; multi-track recording, signal processing and audio production; digital audio. Studio and field experience.
- 566–Fundamentals of Sound Use for Media. {=MART 542} (3) (Prereq: MUSC 565 or consent of instructor) Music for use in media; midi applications and synchronization methods using time code; direct-to-hard-disc tapeless audio recording software.
- 567–Recording Studio Techniques. (3) (Prereq: MUSC 564, 565 or approval of instructor) Technology and techniques in the recording studio including use of equalizers, limiters, reverberators, compressors, the mixing console, multi-track recording, microphone techniques, and basic acoustics related to the instrumental and vocal recording process.
- 569–Intermediate Piano Accompanying. (3) (Prereq: consent of instructor) Approaches to specific problems in vocal and instrumental accompanying; supervised accompanying in class. Advanced work for experienced students.
- 573–Performance Pedagogy I. (3) Basic concepts, techniques and materials for teaching a specific instrument.
- 573L–Pedagogy Laboratory. (2) (Coreq: MUSC 573 or MUSC 574) Directed teaching in laboratory and private settings.
- 574–Performance Pedagogy II. (3) Basic concepts, techniques and materials for teaching a specific instrument intermediate studies.
- 574L–Pedagogy Laboratory. (2) (Coreq: MUSC 573 or MUSC 574) Directed teaching in laboratory and private settings.
- 575–Directed Teaching in Pedagogy I. (3) Supervised teaching in a performance area.
- 575L–Pedagogy Laboratory. (2) (Coreq: MUSC 575) Directed teaching in laboratory and private settings.
- 576–Directed Teaching in Pedagogy II. (3) Supervised teaching in a performance area. MUSC 576 may be repeated for credit (6 credits total).
- 576L–Pedagogy Laboratory. (1) Practical experience in preparing lesson plans and teaching theory-performance classes for precollege piano students on electronic and acoustical instruments. May be repeated for credit.
- 578–Pronunciation for Singers. (3) (Prereq: MUSC 578 is prerequisite to 579) Techniques of pronunciation for singing English, French, German, and Italian. A comparison of sung and spoken languages, including the study of phonetics and the international phonetic alphabet.
- 579–Pronunciation for Singers. (3) (Prereq: MUSC 578 is prerequisite to 579) Techniques of pronunciation for singing English, French, German, and Italian. A comparison of sung and spoken languages, including the study of phonetics and the international phonetic alphabet.
- 583–Music and Worship. (3) The selection and leadership of music in the church service; music for the rural church; selecting and directing anthems and service music for the nonprofessional church choir; the transition from psalmody to hymnody in the 18th century; the Anglican Chant and the Lutheran Chorale.
- 584–Workshop in Music. (1—3 per registration; 12 maximum) Selected topics in music. May be repeated as topic varies.
- 588–Business of Music. (3) Seminar on the business of music.
- 589–Arts Management. (3) Management techniques for organizations with a musical component such as: orchestra, opera, ballet, artist series.
- 599–Music Business Internship. (1—3) Supervised work experience as approved by area program director. (May be repeated up to 6 credits.)
- 700–Independent Study. (1, 2, or 3) (Prereq: permission of advisor and instructor) This course is designed for graduate students who wish to pursue a study of various areas of music according to their particular needs.
- 707–Music Bibliography and Research. (2) Reference works, discographies, periodicals, thematic catalogs, and other sources. Research methods and materials.
- 713–Advanced Jazz Theory. (3) Harmonic, melodic, rhythmic, and structural concepts related to advanced jazz improvisation and composition. In-depth analysis of selected improvisations of artists and contemporary jazz styles.
- 714–Advanced Jazz Arranging. (3) (Prereq: MUSC 520 or equivalent) Advanced orchestration, compositional development, cross-ensemble writing, extended forms, expanded harmonic and rhythmic vocabulary in the various contemporary jazz styles.
- 737–Advanced Projects in Computer Music. (1—4) Advanced computer-music research or computer-generated tape composition.
- 747–Advanced Music Research. (2) (Prereq: MUSC 707) Development of advanced music research skills. Preparation for writing graduate research projects.
- 766–Topics in Church Music. (1—3) Selected topics such as hymnology, church-choir literature and techniques, and church-music administration. May be repeated for a maximum of 12 hours as topic varies.
- 767–Pedagogy of Group Piano. (3) Methodology and survey of materials for beginning through intermediate piano study in groups.
- 769–Advanced Piano Accompanying. (3) (Prereq: consent of instructor) Continuation of MUSC 569. Approaches to specific problems in vocal and instrumental accompanying; supervised accompanying in class.
- 773–Seminar in Performance Pedagogy I. (3) Problems in piano pedagogy at the advanced level and directed teaching.
- 774–Seminar in Performance Pedagogy II. (3) Problems in piano pedagogy at the advanced level and directed teaching. (MUSC 774 may be repeated for a total of nine credit hours.)
- 775–Topics in Piano Pedagogy and Literature. (3 per registration; 12 maximum) For pianists only. Topics such as: Mozart sonatas, Beethoven sonatas, piano music of Debussy. May be repeated for credit as topic varies.
- 778–Advanced Diction. (2) Pronunciation, placement, and rhythm of Italian, French, and German.
- 780–Opera Theater. (1) Study of selected operatic characters from a historical, psychological, and physical perspective.
- 781–Role Preparation. (1) Study of operatic role(s), with attention given to rhythmic accuracy, style, language/diction, translations, and interpretation.
- 782–Opera Production. (1) Supervised preparation and production of an opera.
- 786–Advanced Jazz Improvisation. (3) Applications of harmonic, melodic, and rhythmic concepts for the advanced jazz improvisation student. Exploration of different jazz improvisation areas such as "free," avant-garde, polytonal, and serial.
- 790–Composition Recital. (1) Presentation of the student composer’s work in a suitable professional setting. (Pass-Fail grading)
- 793–Opera Role. (1) Public performance of a major opera role. (Pass-Fail grading)
- 794–Concerto Recital. (1) Public performance of a major concerto with orchestra or appropriate ensemble. (Pass-Fail grading)
- 795–Chamber Recital. (1) Performances of a public recital of chamber music. (Pass-Fail grading)
- 796–Solo Recital. (1) Performance of a public recital in the student’s performance area. (Pass-Fail grading)
- 799–Thesis Preparation. (1—3)
- 801–Advanced Performance Pedagogy. (2) Applied music teaching at the college level. Observation in two or more studios. Teaching experience on an individual basis under the direction of applied faculty members. Repeatable for maximum of four credits.
- 890–Research Project. (1) Specialized research for doctoral students. (Pass-Fail grading)
- 891–Recital Preparation. (1—3)
- 892–Lecture Recital. (1) Public presentation of a lecture recital. (Pass-Fail grading)
- 893–Opera Role. (1) Public performance of a major opera role. (Pass-Fail grading)
- 894–Concerto Recital. (1) Public performance of a major concerto with orchestra or appropriate ensemble. (Pass-Fail grading)
- 895–Chamber Recital. (1) Performance of a public recital of chamber music. (Pass-Fail grading)
- 896–Solo Recital. (1) Performance of a public recital in the student’s primary performance area. (Pass-Fail grading)
- 897–Document Preparation. (1—2) (Pass-Fail grading)
- 898–Treatise Preparation. (1—6) (Pass-Fail grading)
- 899–Dissertation Preparation. (1—12)
Music Education (MUED)
- 554–Workshop in Music Education. (1—3 per registration; 12 maximum) Selected topics in music education. May be repeated as the topic varies.
- 558–Arranging for the Marching Band. (2) Instruction and practice in arranging music for the marching band.
- 564–String Instrument Pedagogy. (2) Principles and practices in teaching string instruments, including Suzuki and Rolland. Emphasis on teaching in the private studio.
- 565–Specialized Elementary Music Methods. (2) (Prereq: MUED 465) Advanced study of Orff, Kodaly, Dalcroze, and Gordon music learning theories as applied in elementary schools.
- 592–Psychology of Music. (3) A study of the physical factors involved with the production and perception of musical sound; the tests for measuring musical aptitude and achievement; the psychology of learning as applied to music.
- 700–Independent Study in Music Education. (1, 2, or 3) (Prereq: permission of advisory committee) This course is designed for graduate students who wish to pursue a study of various areas of music education according to their particular needs.
- 753–Instrumental Development and Related Materials. (3) Detailed study and analysis of techniques used for the development of the instrumental program in the public schools; diagnosis of problems relating to strings, woodwinds, brass, and percussion; study and evaluation (including the problems in selection and use) of literature and materials for solos, small ensembles, bands, and orchestras suitable for elementary, junior, and senior high schools.
- 754–Music Administration and Curriculum. (3) Concepts of and trends and practices in supervision; the place of music in the total program of education; consideration of current types of administrative organizations; study of administrative problems including scheduling and budgeting; consideration of effective music programs in city and county school systems; in-service education and workshop techniques; school and community relationships.
- 755–Supervision of Music in the Elementary School. (3) The aims and responsibilities of the elementary music supervisor; the role of the music consultant; evaluation criteria for the elementary school music program; responsibilities of general supervisors and administrators to the music program; the relationship of supervisor or consultant to the classroom teacher; techniques of in-service workshop education; developments in audio-visual and auditory equipment.
- 756–Choral Development and Related Materials. (3) Study of choral problems from the classroom point of view; techniques of voice development in classes; emphasis on style, interpretation, rehearsal techniques, rhythm, tone quality, and diction; study and evaluation of choral compositions from Palestrina to the present day available for use in the public schools at all levels of instruction.
- 757–Seminar in Elementary School Music. (3) A survey and evaluation of music book series for the elementary and middle school; an investigation of contemporary developments in pedagogy and in the application of research findings; and the formulation of a topical bibliography.
- 781–Advanced Brass Pedagogy. (3) Pedagogical methods and techniques of brass instruction, and a survey of music literature appropriate for intermediate through advanced level.
- 782–Advanced Woodwind Pedagogy. (3) An investigation of pedagogical methods and techniques of woodwind instruction through performance, and a survey of music literature appropriate for intermediate through advanced levels.
- 783–Advanced Wind Pedagogy. (3) Pedagogical methods and techniques of wind instruction. Special study of problems unique to each instrument relating to care and repair, embouchure, tone production, articulation, fingering, intonation, and teaching materials.
- 784–Band Literature. (3) History and literature of the wind band/ensemble.
- 790–Problems in Music Education (Seminar). (3) Seminar on student-selected problem area of music education involving research. The student project will be presented to the seminar in outline and will culminate in a paper presented to The Graduate School.
- 791–History and Philosophy of Music Education. (3) History of music education in the United States; comparative music education in foreign countries; philosophies that have influenced music education; and socio-cultural effects of music in the United States.
- 792–Music Learning Theory. (3) Application of learning theory to music.
- 793–Topics in Music Education. (1—3 per registration) May be repeated for up to twelve credits. Topic for any semester to be announced by suffix and title in the schedule of classes.
- 795–Research in Music Education and Pedagogy. (3) Research methods and procedures.
- 796–Seminar in Music Education Research. (3) (Prereq: MUED 795) Survey and critical analysis of research in music education, culminating in the presentation and defense of individual research proposals.
- 890–Research Project. (1) Specialized research in music education. (Pass-Fail grading)
|
