College of Fine Arts

855 Commonwealth Avenue
Boston, MA 02215
617-353-3350
www.bu.edu/cfa
arts@bu.edu

Office of the Dean

Walt C. Meissner, BA, MFA, Dean ad interim

John Amend, BA, Assistant Dean, Administration and Finance

Alyssa Baker, BA, MFA, Manager of Student Services

Ellen Carr, BS, Executive Director, External Relations

Patricia H. Mitro, BS, EdM, Sr. Assistant Dean for Enrollment Services

Andrew Ryan, BA, Manager of Student Records

Stephanie Trodello, BS, Assistant Dean, Development & Alumni Relations

The Boston University College of Fine Arts (CFA) encompasses the School of Music, the School of Theatre, and the School of Visual Arts. While the Schools have separate faculty and programs of study, they share the common goal of providing the best training in the arts.

The purpose of the College of Fine Arts is to prepare its students for professional work in music, the theatre, or the visual arts. Strong emphasis is placed on studio instruction: the focus of the student’s acquisition of professional skills and techniques through personalized instruction. The faculty at the College are chosen not only for their ability to impart knowledge, but also for their proven accomplishments in the arts. Among the College of Fine Arts faculty are artists, scholars, and performers of national and international reputation.

Courses in literature, language, and the liberal arts, available through the College of Arts & Sciences and other schools and colleges of Boston University, are an integral part of each student’s program.

Minors for Students Outside the College of Fine Arts

CFA sponsors five minors for students enrolled in other schools and colleges within Boston University. Minors are offered in Music, Music Performance, Dance, Theatre, and Visual Arts. These minors are described in following sections. Students should consult with their own school or college on their eligibility for a CFA minor.

Minors for Students Within the College of Fine Arts

College of Fine Arts students are eligible to complete all minors offered through the College of Arts & Sciences, the minor concentration in business administration offered through the School of Management, and the minor in dance through the School of Theatre. In the College of Communication, Visual Arts students can minor in Advertising and Theatre students can minor in Communication Studies. CFA students can minor in another school within CFA. Given the nature of the course requirements in the College of Fine Arts, completion of a minor requires careful planning and may necessitate summer coursework.

English Writing Requirement for College of Fine Arts Students

All CFA students are required to complete CAS WR 100 Writing Seminar. Some students may be required to take other writing courses offered by the College of Arts & Sciences in preparation for WR 100.

Dual Degrees/Boston University Collaborative Degree Program

Students may obtain a dual degree by completing undergraduate programs of study in the College of Fine Arts and another of the University’s schools and colleges. Both schools and colleges involved must agree to the dual degree and to an outline of the coursework required to complete both degrees. Applicants to the program must be in good academic standing, have a minimum grade point average of 3.0, and apply between the first semester of their sophomore year and the first semester of their junior year.

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Scholastic Requirements

Dean’s List and Dean’s List with Special Distinction  Students are placed on the Dean’s List at the end of each semester, based on the following criteria: Dean’s List: Grade point average of 3.40 to 3.74 in a given semester with at least 12 credits and no incomplete grades or J grades (jury not taken). Dean’s List with Special Distinction: Grade point average of 3.75 or above in a given semester with at least 12 credits and no incomplete grades or J grades. Note: Students receiving J grades or I in the first half of a yearlong course can be added to the Dean’s List retroactively once the final grade for the year is given.

Boston University Latin Honors Policy  Among graduating seniors in the College of Fine Arts, five percent will be awarded degrees summa cum laude, ten percent degrees magna cum laude, and fifteen percent cum laude. “Break points,” which are the grade point averages (GPA) corresponding to each of these categories, will be determined at the end of the seventh semester. Students falling in the designated percentile ranges on the basis of their GPA after seven semesters will be certified for degrees with the corresponding Latin honors. Students who by virtue of strong academic performances during their final semester advance their GPA beyond a break point will be awarded degrees with the correspondingly higher Latin honor. Students whose academic performance during the final semester causes their GPA to fall below a break point will retain the Latin honors as originally determined after seven semesters. In no case will students be awarded Latin honors for grade point averages below 3.0.

Grading  Only one-tenth of the credits applied toward the undergraduate degree in the College of Fine Arts may be D grades. Grades of F do not count toward any degree. In the School of Music, in order for a student to pass a level of applied music study, a grade of C– or higher must be earned.

A student ceases to be in good academic standing if his or her scholastic record at the end of a semester shows one or more of the following:

1. A semester’s grade point index (GPI) of 1.7 or below automatically places an undergraduate student on academic probation. A semester’s grade point index below 2.0 but above 1.7 may lead to placement on academic probation following faculty review.

2. A cumulative grade point average below 2.0 will place a student on academic probation.

3. D grades in more than twenty percent of any semester’s credits will place a student on academic probation.

4. F and I grades (combined) in more than twenty percent of any semester’s credits will place a student on academic probation.

5. A student on academic probation is ineligible for participation in student organizations and intercollegiate athletics until good standing is reestablished.

6. A student given the privilege of continuing work on a probationary basis is expected to improve his or her scholastic record so that all conditions of probation are removed by the end of the succeeding semester. Failure to accomplish this may be cause for dismissal. No student who has been on probation for two consecutive semesters may register without approval of the director of his or her school.

7. Normally a student must be on probation for two semesters before they are dismissed. In cases of exceptionally poor performance, this practice may be waived at the recommendation of the relevant faculty and director.

8. All actions concerning academic standing, probation, and dismissal may be appealed to the Dean of the College of Fine Arts.

Incomplete “I” Policy  An incomplete grade (“I”) is used only when the student has conferred with the instructor prior to the submission of grades and there are mutually acceptable reasons for the incomplete work. The instructor and student must sign a joint statement indicating the nature of the work and the date by which the work must be completed. If the work is not completed within 12 months of the last day of instruction in the semester in which the “I” grade is given, then the grade is permanently changed to an F grade.

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SCHOOL OF MUSIC

cfamusic@bu.edu

Anthony Enslow, BA, MA, Executive Assistant

Janice Filippi, Administrative Assistant

Kristina Sessa, Librarian

Casey Soward, BM, Production Manager

Mary P. Squiers, BA, JD, LLM, Executive Operations Officer

BACHELOR OF MUSIC (MusB)

Degree Programs

The School of Music awards the Bachelor of Music degree. Majors are offered in performance, composition, music education, and musicology.

The Bachelor of Arts in Music is offered through the College of Arts & Sciences.

Degree Requirements

To attain the MusB, each student must meet the following requirements:

1. Satisfactory completion of all courses in the chosen program of study as prescribed by the School of Music

2. Completion of at least 132 semester credits

3. Registration for eight semesters as a full-time student or the equivalent

4. Demonstration of proficiency in all technical or professional courses, including a satisfactory recital at the senior level for performance majors and a recital of original compositions for composition majors.

Performance Requirement (Applied Music)

Programs of study within the School of Music vary according to degree sought, area of specialization, and major instrument. Every undergraduate degree candidate in music must study a major instrument. Instruction is offered in the following areas: Bassoon, Cello, Clarinet, Double Bass, Euphonium, Flute, Harp, Horn, Oboe, Percussion, Piano, Saxophone, Trombone, Trumpet, Tuba, Viola, Violin, and Voice.

Each student taking applied music is assigned to a member of the faculty for private instruction. Individual instruction is given in half-hour or hour lessons. An effort is made to consider the student’s preference in studio assignment. Students prepare and present recitals under the tutelage of a School of Music faculty member. Recital Permission Examinations must be passed before the scheduled recital.

Proficiency Levels

The School of Music employs the following system of levels to assess a student’s preparation or attainment in music performance.

Undergraduate Levels 1–8

These levels measure the student’s progress through the undergraduate program. Normally students progress one level each semester. Level 1 is the lowest level permitted for credit on the student’s major instrument. Level 6 is the minimum level required for graduation of students not majoring in performance. Level 8 is the minimum level required for graduation of performance majors.

Musical Organizations

Every full-time undergraduate student is required to perform in a musical organization for credit every semester in residence, up to a maximum of eight semesters. Music education students are exempt from musical organization during their semester of full-time student teaching practicum. In the junior and senior years, piano majors may enroll in Accompaniment Lab (MU 656) as an alternate activity that fulfills the requirement of participation in musical organizations.

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Choral Requirements (CFA MU 653 and CFA MU 654)

For students who are not concentrating in an orchestral instrument, these organizations include the following:

MU 653 A1 Symphonic Chorus .5 cr

MU 654 A1 Chamber Chorus .5 cr

MU 654 B1 Women’s Chorale .5 cr

MU 654 C1 Concert Choir .5 cr

Students must register for two ensembles each semester including CFA MU 653 Symphonic Chorus, and one of the CFA MU 654 sections to be determined by audition. All undergraduate voice, keyboard, and musicology majors must audition for placement in one of the ensembles with a CFA MU 654 number. Freshman vocal performance majors must also attend the Movement Lab.

Registration

1. The student’s registration must be Symphonic Chorus (CFA MU 653) for .5 credit and one of the ensembles under the MU 654 number for .5 credit.

2. Because placement cannot be determined until an audition is completed, the 654 section for purposes of preregistration is X1. Once assignment has been made, the School of Music administration will substitute the appropriate section for X1.

All incoming and returning students must sign up for an audition during the first days of the fall term. Those undergraduate students selected by the faculty for Opera Workshop should combine that registration (CFA MU 651) with one of the 654 sections, each for .5 credit.

Orchestra/Wind Ensemble—CFA MU 650

Students concentrating in an orchestral instrument are placed in Symphony Orchestra, Chamber Orchestra, and/or Wind Ensemble.

Auditions

Initial assignments to large instrumental ensembles, and seating within them, will be made on the basis of auditions held during the first week of school.

Each new and returning instrumentalist planning to participate in CFA MU 650 must audition. The audition will last approximately ten minutes. Sign-up for auditions as well as audition repertoire is available online through the Music Student Resources link on our website. We advise students not to delay signing up since available times fill up quickly.

Music History Requirement

All undergraduate music majors are required to take four semesters of music history. MU 221/223 History and Literature of Music I and MU 222/224 History and Literature of Music II are required. The remaining music history requirements may be taken from a selection of elective offerings.

The list of electives is broken down into Series A and Series B. In order to take any course in Series A (up to MU 329/339), which includes all of the period courses along with Opera and Performance Practice, the prerequisites are MU 221/223 and MU 222/224.

Courses in Series B (beginning with MU 340/350), comprising non-Western, jazz, and popular repertories, as well as interdisciplinary topics, are open to all students and do not require a prerequisite.

Degree Options Within the School of Music

Five-Year Dual Degree Program in Applied Music & Music Education

The Five-Year Dual Degree Program in Applied Music & Music Education offers students the opportunity to complete both a bachelor’s degree in applied music and a master’s degree in music education in five years. Instead of choosing between performance and music education, students pursue both of their interests. Upon completion of this program, students will be eligible to apply for licensure to teach music in schools from the Massachusetts Department of Education. The curriculum includes all of the coursework and performance opportunities afforded to performance majors along with undergraduate and graduate coursework in music education. Students do their student teaching internship and master’s projects in the fifth year.

Double Major

It is possible to elect a double major within the School of Music. Students must complete all courses required in each field. Such a course of study may be completed in five years or in four years with summer study and requires approval by the Undergraduate Studies Committee. Possible double majors are:

Performance/Musicology

Performance/Music Education

Performance/Composition & Theory

Music Education/Musicology

Music Education/Composition & Theory

Musicology/Composition & Theory

Minor in Music for Students Outside the School of Music

The School of Music offers a minor consisting of 20 credits. Required courses: CFA MU 101, 102, 107, 108 (8 credits in music theory). These courses may be waived by passing a proficiency test but must be replaced by other courses in music. An additional 12 credits in music are chosen with the approval of the advisor for music minors. Applied music and composition courses require an audition or departmental approval.

Minor in Music Performance

The School of Music offers a minor in Music Performance for students outside the School of Music who have a high-level training in instrumental or vocal performance. It is not a viable option for those students wishing to experience an introduction to music study. Admission to the Performance Minor is contingent upon successful completion of a performance audition for the conductors of the BUMO ensembles. Audition information (dates and requirements) can be found on College of Fine Arts.

The music minor in performance requires successful completion of 24 credit hours of courses in music.

Academic Coursework:

Music Theory (4 credits), Music History (6 credits)

Music Performance:

Private Instruction (4 credits), Ensemble participation (6 credits)

Approved Electives (4 credits)

Please check with your school or college to determine if the Minor in Music Performance is accepted.

Minor in Music Education for School of Education Students

A minor in music education is available to students in the School of Education. To earn a minor in music education, students must complete 16 credits approved by the CFA music education department.

Professional and Honorary Societies

The following are open to qualified Boston University School of Music students:

The Boston University Student Chapter of the National Association for Music Education (MENC).

Pi Kappa Lambda is a national honor society whose primary objective is the recognition and encouragement of the highest level of musical achievement and academic scholarship.

Mu Phi Epsilon and Sigma Alpha Iota are open by invitation to School of Music students.

Royal College of Music, London

School of Music juniors have the option of applying to spend their fall semester in residence at the Royal College of Music (RCM) in London, England. This program is sponsored by Boston University International Programs and includes music courses taught at RCM and liberal arts courses designed for Boston University students studying abroad.

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BACHELOR OF MUSIC DEGREE PROGRAMS

Course Descriptions

Not all courses are offered every year and the College reserves the right to cancel any course as necessary. The listed prerequisite may be satisfied by a course of equivalent content. Course numbers denote the following:

100–199 General undergraduate

200–299 Intermediate undergraduate

300–399 Advanced undergraduate

400–499 Advanced undergraduate/graduate by permission

Graduate courses are open to undergraduate students with permission of the instructor.

Courses for BU Community

The following courses are available for students who are not majoring in music. No previous background in music or music theory is required. Courses marked with (§) can also be taken by music majors as electives.

CFA MU 111 Elements of Music Theory I

Elements of music; properties of tone and rhythm; sight-reading from bass and treble clefs; notation of meter and rhythms; construction of scales, triads, and intervals. Ear-training, sight-singing, analysis, and compositional work. Credit not applicable to music major. 4 cr.

CFA MU 112 Elements of Music Theory II

Prereq: CFA MU 111. Elementary problems in voice leading and analysis of simpler music from different periods, focusing on the structural elements of composition. Correlated ear-training, analytical, and compositional work. Credit not applicable to music major. 4 cr.

CFA MU 119, 120 Music Appreciation

Basic materials of music; analysis of masterpieces of music with reference to cultural background; group attendance of concerts with preliminary discussion period. Course does not presuppose a technical knowledge of music. 2 cr, each sem. (§)

CFA MU 145 Non-Majors Voice

Fourteen 1-hour private voice lessons provided by a CFA graduate voice major for students not majoring in vocal performance. Class is offered to students with or without prior vocal experience and no prerequisites are required. Open to CFA and non-CFA students. Course requires a $1,050 applied music fee. 1 cr, either sem.

CFA MU 146 Non-Majors Voice

Fourteen ½-hour private voice lessons provided by a CFA graduate voice major for students not majoring in vocal performance. Class is offered to students with or without prior vocal experience and no prerequisites are required. Open to CFA and non-CFA students. Course requires a $525 applied music fee. 0.5 cr, either sem.

CFA MU 147 Non-Majors Strings

Fourteen 1-hour private string lessons provided by a CFA graduate string major for students not majoring in string performance. Class is offered to students with or without prior string experience and no prerequisites are required. (For lessons in violin, viola, cello, or bass, the student must have an instrument to practice on. Reasonable rental arrangements are possible in the Boston area.) Open to CFA and non-CFA students. Course requires a $1,050 applied music fee. (May be repeated for credit.) 1 cr, either sem.

CFA MU 148 Non-Majors Strings

Fourteen ½-hour private string lessons provided by a CFA graduate string major for students not majoring in string performance. Class is offered to students with or without prior string experience and no prerequisites are required.† Open to CFA and non-CFA students. Course requires a $525 applied music fee. (May be repeated for credit.) 0.5 cr, either sem.

CFA MU 149 Non-Majors Piano

Fourteen 1-hour private piano lessons provided by a CFA graduate piano major for students not majoring in piano performance. Class is offered to students with or without prior piano experience and no prerequisites are required. Open to CFA and non-CFA students. Course requires a $1,050 applied music fee. 1 cr, either sem.

CFA MU 150 Non-Majors Piano

Fourteen ½-hour private piano lessons provided by a CFA graduate piano major for students not majoring in piano performance. Class is offered to students with or without prior piano experience and no prerequisites are required. Open to CFA and non-CFA students. Course requires a $525 applied music fee. 0.5 cr, either sem.

CFA MU 225 Jazz Music

A study of important issues connected with America’s original music: the art of improvization; the role of composition; innovation and tradition; individuality and style; instruments and forms. We shall also consider controversial questions such as the formation of the roots of jazz, issues of race, and the “neo-classicism” of the 1980s and 1990s. Students will learn how to listen, to appreciate jazz if they are unfamiliar with it, and to deepen their understanding if they already enjoy it. 2 or 4 cr (§).

CFA MU 228 Masterpieces of Western Music

Not for concentration credit. Study of selected major works from each of the historical style periods of Western music: Middle Ages, Renaissance, Baroque, Classical, Romantic, and the twentieth century. Works are chosen to illustrate the broad scope of Western musical history. 2 or 4 cr. (§)

CFA MU 229 Masterpieces of Opera

Not for concentration credit. An introduction to the forms and conventions of musical drama. Selected works of light and serious opera presented in order of progressive depth and complexity. Gershwin’s Porgy and Bess, Puccini’s La Bohème, Mozart’s Don Giovanni, Wagner’s Tristan und Isolde, Alban Berg’s Lulu. 2 or 4 cr. (§)

CFA MU 231 Masterpieces of Symphonic Literature

The chief trends in symphonic music from Viennese Classicism to the early twentieth century. Development of the instruments of the orchestra and symphonic forms. Haydn and the “Storm and Stress,” Mozart, Beethoven and the heroic symphony, the German Romantics, Berlioz, and the tone poems of Liszt and Strauss. Post-Romantic symphonies of Bruckner and Mahler. 2 or 4 cr. (§)

CFA MU 238 Music of Haydn and Mozart

A study of the music and interrelated careers of Viennese Classicism’s chief representatives. Haydn and the development of the piano sonata, string quartet, and symphony. Mozart as master of the string quartet, concerto, and opera. Similarities, differences, and cross-influences between Haydn and Mozart. 2 or 4 cr. (§)

CFA MU 240 Ludwig van Beethoven

Not for concentration credit. The triumph of the human spirit through the symphonic ideal. An introduction to the nine symphonies, the chamber music, the piano sonatas, the concertos, the overtures, and the opera Fidelio. 2 or 4 cr. (§)

CFA MU 242 Music and Society

A survey of the complex and fascinating relationship between music and the society which it mirrors, from Plato to punk. Focuses upon several crucial crossroads in the history of Western culture: antiquity and musical ethos; medieval plainsong; feudalism and courtly love; the secular courts of the Renaissance; Bach and craftsmanship; Mozart and the Enlightenment; angst, anger, and Romanticism; and the modern ferment. 2 or 4 cr. (§)

CFA MU 246 Popular Music: The Rolling Stones

This multimedia course will provide an in-depth examination of the Rolling Stones and their role within the evolving history of popular culture, with the major emphasis being placed on understanding their musical styles. Along the way, the relationship between the group and the major trends in rock music will be highlighted, since a history of the Stones is, in many ways, a history of rock music in general. This course is intended for the general university student and neither assumes nor requires previous training in music. 3 cr. On Demand

CFA MU 247 Popular Music: The Beatles

This course will examine the music of the Beatles in the cultural, social, and musical context of the Sixties. We shall look at the influences that played a part in the formation of their style; the magical interplay of talents among the four musicians; and the special partnership between Lennon and McCartney that led to the creation of some of the most enduring songs of the pop and rock era. This course is especially designed for students who have no technical background in music, though musicians are welcome too. 3 cr. On Demand

CFA MU 248 Popular Music: World Beat

This course will explore the distinctive popular music known as “World Beat “ including pop music from Africa, Cuba and other parts of the Caribbean, Latin America and in particular Brazil, Argentina, India, Spain, Portugal, and North America, as well as world beat fusion, film music, and more traditional genres such as Spanish flamenco. Social and cultural influences, political motivations, and the effects of modernization and recording will also guide our investigation. 3 cr. On Demand

CFA MU 249 Popular Music: Funk

Funk is a musical style that emerged during the late 1960s and early ’70s, and is widely considered as one of the primary influences in the development of disco, rap, hip hop, fusion, and contemporary urban and R&B styles. This course will follow the trajectory of funk from its roots in rhythm and blues through its classic formulation in the 1970s, and will conclude with a discussion of the urban transformation and revival of funk over the last two decades. We will place funk within its cultural and social milieu, as well as examine the evolving musical characteristics of funk in some detail. This course is intended for the general university student and neither assumes nor requires previous training in music. 3 cr. On Demand

CFA MU 424 Jewish Music

Jewish music as an expression of Jewish heritage, from ancient Israel to modern America. Sacred music, folk songs, musical influence of host countries, nineteenth-century antagonisms, twentieth-century themes and composers in Diaspora. Reading, listening, and analysis; group presentation, performance, debate, final exam, and term paper. 3 cr.

CFA MU 425 The Holocaust and Music

Not for concentration credit. Introduction to musical compositions created during and after the Holocaust that commemorate the period’s historical moments, social issues, and personal experiences. Listening, analysis, and background reading on music by Schoenberg, Shostakovich, Penderecki, Reich, and others. 4 cr. (§)

CFA MU 559 World Music and Culture

Musical traditions throughout the world are considered through analytical, social, and aesthetic approaches. Among the cultures examined are those of the United States, the Middle East, and East Asia. Topics include popular and folk music, music and ritual, communication, and self-expression, with consideration of modal structures, instruments, forms, and performance practices. This introductory course is appropriate for both music majors and non-majors. 3 cr (music majors) or 4 cr (non-music majors). (§)

Other courses open to non-music majors from the Music Education department include: MU 261 (Mus Ed I) The Art of Teaching I, MU 264 Music and Movement, MU 275 Survey of Jazz I, MU 276 Survey of Jazz II. Please refer to the music education course descriptions.

Also, open to all Boston University students in the Music Education department are group instrument courses MU 151–274, which are for beginners who can read music to learn basic playing technique and pedagogy, as well as the ensembles offered through Boston University Music Organizations.

Courses for Music Majors

CFA MU 100 Concert Music

Introduction to the cultural world of the College of Fine Arts. Guest lectures by CFA artist faculty and other members of the Boston arts community. Required for all freshman music majors. 0 cr.

Composition and Theory

CFA MU 101 Music Theory I

Basic music vocabulary. Elements of tonal music approached through hearing, writing, analytical work, and keyboard. Species counterpoint. All students must also enroll in Ear-Training and Sight-Singing. 3 cr.

CFA MU 102 Music Theory II

Understanding of chord grammar through study of voice leading, figured bass, and harmonization of melodies. Keyboard harmony and score-reading exercises. Introduction to the systematic study of form. All students must also enroll in Ear-Training and Sight-Singing. 3 cr.

CFA MU 107 Ear-Training and Sight-Singing I

Prereq: CFA MU 106 or placement by examination. Sight-singing and dictation of diatonic materials in all clefs and intervals. Exercises in rhythmic reading, conducting, prepared singing, and intonation. 1 cr.

CFA MU 108 Ear-Training and Sight-Singing II

Prereq: CFA MU 107 or placement by examination. Continuation of CFA MU 107. Introduction of chromaticism and modulation within a tonal context. Triplets and compound rhythms. Melodic, harmonic, and rhythmic dictation. 1 cr.

CFA MU 201 Music Theory III

More advanced study of tonal harmony and voice leading. Tonal counterpoint. Formal and compositional idioms of the late Baroque. Keyboard harmony, figured bass, and score reading. All students must also enroll in Ear-Training and Sight-Singing. 3 cr.

CFA MU 202 Music Theory IV

Continued study of tonal and chromatic harmony and voice leading. Composition of small forms. Introduction to instrumentation and scoring. Formal and compositional idioms of the Classical period. Keyboard harmony and score reading. All students must also enroll in Ear-Training and Sight-Singing. 3 cr.

CFA MU 203 Honors Theory III

Prereq: departmental approval. Continued study of tonal and chromatic harmony and voice leading. Composition of small forms. Instrumentation and scoring. Formal and compositional idioms of the Classical period. Keyboard harmony, figured bass realization, introduction to score reading. All students must also enroll in Ear-Training and Sight-Singing. 3 cr.

CFA MU 204 Honors Theory IV

Prereq: departmental approval. Advanced tonal and chromatic harmony, instrumentation, and scoring. Formal and compositional idioms of the Romantic period. Keyboard harmony and score reading. All students must also enroll in Ear-Training and Sight-Singing. 3 cr.

CFA MU 207 Ear-Training and Sight-Singing III

Prereq: CFA MU 108 or placement by examination. Continuation of CFA MU 108. More challenging exercises in sight-singing and preparation of increasingly chromatic or disjunct materials. Melodic, harmonic, two-part, and rhythmic dictation. Two-part rhythmic exercises and conducting. 1 cr.

CFA MU 208 Ear-Training and Sight-Singing IV

Prereq: CFA MU 207 or placement by examination. Continuation of CFA MU 207. Greater emphasis on nondiatonic material, more difficult exercises in prepared singing, sight-singing, dictation, and rhythm. 1 cr.

CFA MU 301 Music Theory V

Individual musicianship problems developed according to the major area of study. Formal and compositional idioms of the Romantic period of music. Individual study or compositional projects. 2 cr.

CFA MU 302 Music Theory VI

Individual musicianship problems developed according to the major area of study. Formal and compositional idioms of the twentieth century. Individual study or compositional projects. 2 cr.

CFA MU 303 Instrumentation I

Basic techniques in scoring for chorus, orchestra, band, and ensembles. Ranges and transpositions of voices and instruments; idiomatic writing, score reading, and clef transposition. 2 cr.

CFA MU 304 Honors Theory V

Prereq: departmental approval. Musicianship problems developed according to the major area of study. Formal and compositional idioms of the late Romantic period and twentieth century. Individual projects. 2 cr.

CFA MU 405 Modal Counterpoint

Prereq: CFA MU 102. Analysis and writing of examples of sixteenth-century vocal styles including the motet. 2 cr.

CFA MU 406 Tonal Counterpoint

Prereq: CFA MU 405. Study of eighteenth-century instrumental styles including invertible counterpoint, chorale prelude, and two- and three-part inventions. 2 cr.

CFA MU 407 Ear-Training and Sight-Singing V

Prereq: CFA MU 208 or placement by examination. Continuation of CFA MU 208. Advanced work in preparing chromatic and disjunct material, sight-singing, rhythmic reading, and dictation. May be taken for graduate credit with permission. 1 cr.

CFA MU 411 Electronic Music I

Classical electronic music techniques; theory and application of analog electronic musical instruments. Lectures, reading, ear-training, listening, and laboratory assignments leading to individual lab projects. May be taken concurrently with CFA MU 412. 2 cr.

CFA MU 412 Electronic Music II

Introduction to the theory and application of the digital electronic music studio; use of computers and MIDI. Lectures, reading, listening, and laboratory assignments leading to individual laboratory projects in sound design and composition. 2 cr.

CFA MU 413 Electronic Music III

Prereq: CFA MU 412/612. Computer music synthesis and programming using C sound and other digital processing tools. 2 cr.

CFA MU 414 Electronic Music IV

Prereq: CFA MU 413/613 or permission of instructor. Individual projects in composition and research. May be repeated for credit. 2 cr.

CFA MU 561, 562 Basic Compositional Techniques

Introduction to principles of composition. Instruction in calligraphy and manuscript preparation. Examination of contemporary musical techniques. Written work modeled on analyses of representative forms. 2 cr, each sem.

CFA MU 563, 564 Composition III, IV

Prereq: CFA MU 561, 562. Original work in traditional forms of musical composition. (May be repeated for credit.) 2 cr, each sem.

CFA MU 565, 566 Composition V, VI

Prereq: CFA MU 563, 564. Original work in contemporary musical composition. 3 cr, each sem.

Musicology

CFA MU 221/223 History and Literature of Music I

Prereq: CFA/CAS music majors only. Historical survey of music from Antiquity to the end of the Baroque. Required of CFA/CAS music majors. 3 cr, 4 cr, 1st sem.

CFA MU 222/224 History and Literature of Music II

Prereq: CFA MU 221/223 and CFA/CAS music major. Historical survey of music from 1750 to the present. Required of CFA/CAS music majors. 3 cr, 4 cr, 2nd sem.

Series A

CFA MU 321/331 Medieval Music

Prereq: CFA MU 221/223 and 222/224. Special topics in music from the beginnings of chant to 1400, including traditions of chant, early polyphony, secular song, sources, and musical institutions (monastery, convent, cathedral, court, city). 3 cr, 4 cr.

CFA MU 322/332 Renaissance Music

Prereq: CFA MU 221/223 and 222/224. Special topics in music from ca. 1400–1600, including mass, motet, secular vocal, and instrumental repertories, composers and institutions, music and text, humanism, and the relationship between music and Renaissance culture. 3 cr, 4 cr.

CFA MU 323/333 Baroque Music

Prereq: CFA MU 221/223 and 222/224. Special topics in music from ca. 1600–1750, including examinations of opera, cantata and oratorio, monody, instrumental genres, and composers, from Monteverdi to J. S. Bach. 3 cr, 4 cr.

CFA MU 324/334 Music in the Classical Period

Prereq: CFA MU 221/223 and 222/224. Special topics in music from ca. 1750–1820, dealing mainly with symphonic, chamber, and keyboard music by Haydn and Mozart through Beethoven. 3 cr, 4 cr.

CFA MU 325/335 Romantic Music

Prereq: CFA MU 221/223 and 222/224. Special topics in music from ca. 1820–1900, dealing mainly with orchestral, chamber, and piano music, as well as Lieder, opera, program music, and individual or groups of composers. 3 cr, 4 cr.

CFA MU 326/336 Music After 1900

Prereq: CFA MU 221/223 and 222/224. Special topics in orchestral, chamber, solo, and vocal genres from 1900 to the present covering such issues as atonality, neo-classicism, expressionism, the avant-garde, post-modernism, minimalism, technology, etc., and individual or groups of composers. 3 cr, 4 cr.

CFA MU 327/337 Selected Topics in Music History

Prereq: CFA MU 221/223 and 222/224. Special topics in the history of music, covering a variety of approaches, styles, and periods, from Antiquity through the present. 3 cr, 4 cr.

CFA MU 328/338 Opera

Prereq CFA MU 221/223 and 222/224. Special topics and surveys in opera history from its beginnings, ca. 1600, to the present, focusing on major works, libretti, productions, and music/text relationships. 3 cr, 4 cr.

CFA MU 329/339 Performance Practice

Prereq: CFA MU 221/223 and 222/22. Selected issues and/or surveys in the history of performance practice, covering instruments, treatises, ornamentation, style, and playing technique. 3 cr, 4 cr.

CFA MU 449 Senior Independent Work for Distinction

Prereq: permission of the professor and Chair of Musicology Department. 3 cr, 4 cr.

Series B

CFA MU 340/350 Musical Cultures of the World

Formerly MU 325. No prereq; open to all students. A survey of music and musical cultures from around the world, including African- and Native-American traditions, Africa, India, Japan, Indonesia, and Latin America. 3 cr, 4 cr, either sem.

CFA MU 341/351 Topics in World Music

No prereq; open to all students. Selected topics concerning non-Western music and culture, including colonialism and post-colonialism, orientalism, anthropological perspectives, modernization, transmission, migration, diaspora, and the influence of technology. 3 cr, 4 cr, either sem.

CFA MU 342/352 Jazz Music

No prereq; open to all students. A study of issues in, or survey of, jazz from its beginnings to the present, focusing on major performers and recordings, individuality and style, instruments, and forms. 3 cr, 4 cr, either semester

CFA MU 343/353 Popular Music and Culture

No prereq; open to all students. Selected topics exploring the relationship between popular music and culture from American popular song and musical theatre, to worldbeat, blues, rock, hip-hop, and techno. 3 cr, 4 cr, either sem.

CFA MU 344/354 Interdisciplinary Topics in Music History

No prereq; open to all students. Wide-angled and narrowly focused topics dealing with music’s application to and interaction with other disciplines, including the broader humanities, science, politics, and technology. 3 cr, 4 cr, either sem.

Music Education

CFA MU 261 (Mus Ed I) The Art of Teaching I

Required of music education students and open to any University student interested in building a basic repertoire of teaching skills. Discussion of students’ reasons for selecting music teaching as a profession. The study of the nature of teacher power and authority in the classroom and the importance of relationship building with students. Instructional strategies of master teachers including attention and clarity moves are studied, analyzed, observed, and practiced. Analysis of teacher attributes as portrayed in films. Development of a repertoire of songs for classroom use. FIELD EXPERIENCE: 30 hours of sustained weekly Friday morning internship in a public elementary school general classroom. 2 cr.

CFA MU 263 (Mus Ed II) The Art of Teaching II

Prereq: CFA MU 261. Development of instructional strategies related to classroom culture, time, space, and momentum. Principles of learning and classroom behavior management techniques are practiced. Introduction to music lesson planning. Analysis of teacher attributes as portrayed in films. FIELD EXPERIENCE: 30 hours of sustained weekly Friday morning internship in a public secondary school music program. 2 cr.

CFA MU 264 Music and Movement

Experiences in music and movement provide a basis for developing concepts and skills in each arts area, as well as teaching strategies appropriate for relating music and movement in the early childhood curriculum. 2 cr.

CFA MU 275 Jazz I: Performance and Context

Open to non-music majors and music majors for elective credit with advisor approval. Introduction to this American musical art form through recordings, videos, discussion, concerts, and workshops; also an introduction to the role of jazz in education. 2 cr.

CFA MU 276 Jazz II: Performance and Context

A continued study of the major movements of jazz with emphasis on the role of jazz in education. 2 cr.

CFA MU 361 (Mus Ed III) Music in Elementary School

Prereq: CFA MU 263. Philosophy and goals for the general music program in grades pre-K through 5. Study of the implication of national and state music standards for elementary students. Introduction to age-appropriate teaching materials, music concept and skill development in young children, as well as Orff-Schulwerk, Kodaly, Dalcroze, Gordon, and Feierabend methodologies. Planning and peer teaching of lessons which include singing, listening, movement, composing, improvising, reading music, and instrument playing. FIELD EXPERIENCE: 30 hours of weekly Friday morning group observations and sustained internship. 4 cr.

CFA MU 362 (Mus Ed IV) Music in Middle and High School

Prereq: CFA MU 361. Philosophy and goals for the music program in grades 6 through 12. Study of the implication of national and state music standards for secondary level program development. Understanding of adolescent thinking and behavior. Understanding of the relationship among general music, choral, and instrumental music instruction at the secondary level. Development of teaching and rehearsal plans as well as assessment strategies. Peer teaching and evaluation of lesson plans. FIELD EXPERIENCE: 30 hours of weekly Friday morning group observations of secondary level music teachers and sustained internship. 4 cr.

CFA MU 371 Student-Teaching Practicum I, (Pre-K–5)

Prereq: 2.7 GPA, successful completion of MTEL exams. Supervised student teaching in grades pre-K–5; individual conferences with University supervisor. Minimum 150 hours required. 4 cr, each sem.

CFA MU 372 Student-Teaching Practicum II, (5–8)

Prereq: 2.7 GPA, successful completion of MTEL exams. Supervised student teaching in grades 5–8; individual conferences with University supervisor. Minimum 150 hours required. 4 cr, each sem.

CFA MU 375 Student-Teaching Practicum III, (8–12)

Prereq: 2.7 GPA, successful completion of MTEL exams. Supervised student teaching in grades 8–12; individual conferences with University supervisor. Minimum 150 hours required. 4 cr, each sem.

CFA MU 410 Independent Study in Music Education

Prereq: approval of advisor, the faculty member who is to supervise study, and department chair. Plans must be submitted in advance of registration. (A maximum of 8 semester hours may be counted toward the degree.) Open only to undergraduate students. 2–3 cr.

CFA MU 463 Creativity and Imagination in General Music

Prereq: CFA MU 361 or permission of instructor. Students will examine general music instruction through the lenses of higher order thinking, multiple intelligences, and connectivity. This course will present ways that general music teachers can become reflective practitioners who stimulate their students to interact powerfully and imaginatively with music. Teaching which provokes inquiry and creativity will be emphasized. A variety of published and teacher-constructed curriculum materials will be examined, critiqued, and analyzed for their ability to stimulate active student engagement, to anchor core music concepts, to address national and state standards, and to connect music with academic learning. Students will be challenged to create, compose, experiment, research, and design curriculum materials that are substantive, thought-provoking, vivid, and memorable. 2 cr.

CFA MU 465 Curriculum Planning for General Music

Prereq: CFA MU 361 or permission of instructor. Students will study current educational thought on how learners come to understand, value, utilize, transfer, and retain what they learn. Focusing on implementing national and state music standards, students work in cooperative cohorts to develop a three-year curriculum sequence of units for general music. The backward planning paradigm and curriculum mapping will assist students in their work. Authentic assessment of achievement will be integrated into all curriculum plans. 2 cr.

CFA MU 466 African Music

Through the experience of playing in a drumming circle led by a master drummer, students will learn authentic performance techniques and gain confidence in rhythmic improvisation. Cultural, societal, and historical contexts will be studied informing students about the importance of drumming in all aspects of African societies. 2 cr.

CFA MU 470 Honors Seminar

Prereq: permission of instructor. This course welcomes students from music, drama, dance, and visual art who are interested in designing projects involving teaching in their specialized areas or in integrated arts. Research and/or special fieldwork projects related to teaching are the basis of the honors seminar experience. Students may work on individual research projects, or the seminar cohort may design a single project involving fieldwork teaching and/or curriculum planning and assessment. A culminating oral presentation and capstone paper about the seminar project complete the semester’s work. 2 cr.

CFA MU 471 (Mus Ed V) Choral Methods and Materials

Choral music and teaching methods for large and small school ensembles including children’s choirs, adolescent choirs, mixed- and single-gender choirs. Vocal attributes and ranges of all age groups. Development of age-appropriate vocal warm-ups, head voice, and healthy vocal production techniques. Choral literature studied will include unison, SA, SSA, SAB, TTBB, and SATB repertoire. Emphasis on ensemble development, literature selection, concert presentations, and development of a sequential choral program from elementary through high school. 2 cr.

CFA MU 472 (Mus Ed VI) Instrumental Methods and Materials

Study of techniques employed in the teaching of instruments and instrumental ensembles in school settings. Comparative analysis of instrumental method series and scores for beginning students in homogeneous and heterogeneous class settings. Extension of lesson and ensemble instruction to middle and high school levels. Emphasis on ensemble development, literature selection, concert presentations, and development of a sequential instrumental program from elementary through high school. 2 cr.

CFA MU 485 (Mus Ed VII) Music Technology in Schools

Exploration of the use of MIDI technology in K–12 music programs. Analysis of elementary drill and practice software such as MUSIC ACE as well as programs for secondary music theory such as PRACTICA MUSICA. Notation programs such as FINALE and SIBELIUS are introduced as well as basic sequencing and loop-based software. Potential for creative use of MIDI for student composers. 2 cr.

CFA MU 580 Practicum Seminar

This one-hour weekly seminar is required of students during both semesters of senior year as part of the practicum experience. Topics will include development of an educational philosophy, r é sum é preparation, job interviewing, public and parental relations, school policies, and music program advocacy. Case study sessions will help seniors analyze complicated classroom situations. Students will be guided through the teacher licensure process and readied for entry into the music education job market as well as the experiences of the first year of teaching. 0 cr.

Conducting

CFA MU 377 Choral Conducting I

Basic skills—beat patterns, use of each hand, study of musical terminology, transposition, tempi, and dynamics; simple score reading and conducting experience with emphasis on choral techniques. 2 cr.

CFA MU 378 Choral Conducting II

Continued application of basic skills in conducting choral literature with attention to developing choral tone and effective enunciation; observation and discussion of rehearsal procedure, choral literature, and performance practice in public schools. 2 cr.

CFA MU 379 Instrumental Conducting I

Basic skills—beat patterns, use of each hand, study of musical terminology, transposition, tempi, and dynamics; simple score reading and conducting experience with emphasis on instrumental techniques. 2 cr.

CFA MU 380 Instrumental Conducting II

Continued score reading study and exercise; application of basic skills in conducting instrumental literature; observation and discussion of rehearsal procedure, band and orchestral literature, and performance practice in public schools. 2 cr.

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Group/Class Instruction

The following courses are open to all students in the University. These classes for beginners teach basic steps for acquiring playing technique and progress toward musical expression on that instrument. Pedagogy and instructional materials will be discussed. Students are required to know musical notation. A placement examination is required before the first enrollment in a piano class. Group Piano times, days, and locations are based on the results of the proficiency examination.

CFA MU 151 Group Piano I

An introduction to piano performance. Emphasis on music reading, piano technique, basic keyboard harmonization. Open to all beginning-level piano students. 1 cr, each sem.

CFA MU 152 Group Piano II

A continuation of technique building at the piano developed in CFA MU 151. Focus is on developing aural and visual skills that enable students to perform elementary-level piano music. Introduction to sight-reading, music theory. Open to all students. 1 cr.

CFA MU 153 Group Piano III

Focus on functional piano, the playing of simple accompaniments and intermediate-level piano music. Introduction to chording and playing by ear. Intermediate-level sight-reading and basic piano ensemble experience, and basic keyboard pattern and transposition. Open to all students. 1 cr.

CFA MU 159 Organ Class

1 cr, each sem.

CFA MU 160, 161 Voice Class

1 cr, each sem.

CFA MU 164 String Class

Familiarization with string instruments (violin, viola, cello, string bass). Basic performance skills as well as pedagogical techniques for teaching string instruments to beginners will be learned. Knowledge of methodologies and maintenance of string instruments will also be developed. Music reading skills required. 1 cr, each sem.

CFA MU 176 Woodwind Class

Familiarization with woodwind instruments (clarinet, flute, oboe, bassoon, and saxophone). Basic performance skills as well as pedagogical techniques for teaching woodwind instruments to beginners will be learned. Knowledge of methodologies and maintenance of woodwind instruments will also be developed. Music reading skills required. 1 cr.

CFA MU 180 Brass Class

Familiarization with brass instruments (trumpet, trombone, French horn, baritone, and tuba). Basic performance skills as well as pedagogical techniques for teaching brass instruments to beginners will be learned. Knowledge of methodologies and maintenance of brass instruments will also be developed. Music reading skills required. 1 cr.

CFA MU 183 Percussion Class

Familiarization with percussion instruments (snare drum, marimba, timpani, auxiliary percussion instruments). Basic performance skills as well as pedagogical techniques for teaching percussion instruments to beginners will be learned. Knowledge of methodologies and maintenance of percussion instruments will also be developed. Music reading skills required. 1 cr.

CFA MU 184 Guitar Class

1 cr, each sem.

CFA MU 185 Recorder Class

1 cr, each sem.

CFA MU 273 Special Study: Secondary Instruments

Class instruction at intermediate level in string, guitar, woodwind, brass, or percussion instruments. 1 cr.

Performance Organizations and Ensembles

CFA MU 650 Musical Organizations—Instrumental

Various groups including symphony orchestra, chamber orchestra, wind ensemble, and other conducted organizations. (May be repeated for credit.) 1 cr.

CFA MU 653 Musical Organization—Choral

A large mixed group studying and performing the great literature from the choral-symphonic tradition. Open to all by audition. Required of all students for whom chorus satisfies the required musical organization (i.e., voice, keyboard, music education) and all graduate choral conducting majors. Satisfies musical organization requirement with a section of CFA MU 654. (May be repeated for credit.) .5 cr.

CFA MU 654 Choral Ensemble

Membership is by audition. Students are placed by the director of choral activities.

A1 Chamber Chorus  A small, highly select mixed chorus which studies and performs the great choral music of all periods and styles. Open to all by audition. May be repeated for credit. With CFA MU 653, satisfies musical organization requirement. .5 cr.

B1 Women’s Chorale  A small, highly select chorus for women which studies and performs music of all styles and periods with special emphasis on music of the twentieth century. Open to all women by audition. May be repeated for credit. With CFA MU 653, satisfies musical organization requirement. .5 cr.

C1 Concert Choir  A mixed chorus that studies and performs the great choral literature of all periods and styles. Exists as a performing resource for conducting students and a recital chorus for the MusM and MusAD conducting majors. Open to all by audition. May be repeated for credit. With CFA MU 653, satisfies musical organization requirement. .5 cr.

CFA MU 651 Opera Workshop

By audition only for graduate and undergraduate singers (in conjunction with Chamber Choir) who demonstrate operatic potential. Coursework including acting, musical coaching, movement, stage, and audition techniques, will culminate in the performance of opera scenes and possible ensemble participation in a mainstage production. Undergraduates: .5 credit per semester in partial fulfillment of ensemble requirement.

CFA MU 655 Advanced Opera Workshop

By audition only for advanced undergraduate and graduate singers who demonstrate integration of acting, vocal, and movement skills potentially appropriate for casting in scenes, The Fringe Festival, and mainstage productions. Coursework includes acting, musical coaching, movement, language diction classes, and master classes. 1 credit per semester toward ensemble requirement.

CFA MU 656 Collaborative Piano

Analysis and practice in the vocal and instrumental repertoire; discussion of style and performance. Required practical training through two hours per week assigned accompaniment. Serves as Music Organization credit for juniors and seniors only. (May be repeated for credit.) 1 cr.

All-University Music Organizations

Boston University Music Organizations offers all Boston University students the opportunity to continue in the endeavor of making music, regardless of major or concentration. Auditions for BUMO ensembles are given during the first week of the fall semester and the first week of the spring semester. For information concerning participation in any BUMO ensemble, contact the BUMO office at 617-353-3358 or visit Boston University Music Organizations.

Please refer to the BUMO website for course descriptions.

CFA MU 191 Marching Band  1 cr, 1st sem.

CFA MU 192 Concert Band  1 cr, each sem.

CFA MU 193 Pep Band  1 cr, each sem.

CFA MU 194 Jazz Ensemble  1 cr, each sem.

CFA MU 195 Jazz Combo  1 cr, each sem.

CFA MU 196 Jazz Workshop  1 cr, each sem.

CFA MU 199 Symphonic Chorus  1 cr, each sem.

Chamber Music

CFA MU 670 Chamber Music

Study and performance of chamber music in various combinations. Chamber ensembles receive one hour of coaching each week with a member of the faculty. (May be repeated for credit.) 1 cr.

CFA MU 671 Baroque Chamber Music

Study and performance of Baroque chamber music for winds, strings, and continuo. Ensembles receive one hour of coaching each week with a member of the applied music faculty in the Historical Performance Department. (May be repeated for credit.) 1 cr.

CFA MU 674 Ensemble for Pianists

Admission by audition. Four-hand and ensemble work for piano. (May be repeated for credit.) 2 cr.

Opera

CFA MU 397 Performance Techniques for the Singing Actor I

Fundamental stage techniques. Basic stage language, movement, presentation skills, and fundamentals of acting for recital and opera. No audition necessary. Some Opera Workshop participants may be asked to take Performance Techniques as a prerequisite to casting in scenes. 2 cr, each semester.

CFA MU 398 Performance Techniques for the Singing Actor II

Continuation of CFA MU 397. Training in the awareness of the dramatic aspects of music as basis for characterization and includes an introduction to scene work. 2 cr, each semester.

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Applied Music

Odd-numbered courses indicate hour lessons. Even-numbered courses indicate half-hour lessons. Consult the School of Music on proficiency level requirements.

Applied lessons with School of Music faculty are primarily for students enrolled in the School. Applied lessons with advanced graduate students are offered in several areas for Boston University students enrolled in other schools. Please contact the School of Music for more information.

CFA ML 501, 502 Piano

Clodes-Jaguaribe, di Bonaventura, Jiorle-Nagy, Sharon.

CFA ML 503, 504 Harpsichord

Sykes.

CFA ML 507, 508 Voice

Arneson, Bitzas, Daniels, Demler, Durham, Estes, Hoffman, Kelley, Ormont, Pope, Spacagna.

CFA ML 509, 510 Violin

Chang, Keyes, Lin, Lowe, D. Mazurkevich, Y. Mazurkevich, Mizuno, Totenberg, Zazofsky.

CFA ML 511, 512 Viola

Ansell, Basrak, Gazouleas, Hillyer, LaCourse, Zaretsky.

CFA ML 513, 514 Cello

Eskin, Johnson, Neikrug, Parnas, Reynolds, Rider.

CFA ML 515, 516 String Bass

Barker, Levy, Orleans, Seeber, Wolfe.

CFA ML 517, 518 Flute

Coticone, Dwyer, Heiss, Krimsier, Ostling, Toote.

CFA ML 519, 520 Oboe

Ahlbeck, Ferillo, Sheena.

CFA ML 521, 522 Clarinet

Greitzer, Martin, Nordstrom, Sloane.

CFA ML 523, 524 Bassoon

Haroutunian, Henegar, Nelson, Ranti, Ruggiero.

CFA ML 525, 526 Saxophone

Bill, Brown.

CFA ML 527, 528 Trumpet

Chapman, Everson, Foley, Rolfs.

CFA ML 529, 530 Horn

Katzen, Larsen, Mackey, Menaul, Ruske, Sommerville, Wadenpfuhl.

CFA ML 531, 532 Trombone

Lucas.

CFA ML 533, 534 Euphonium

Lucas.

CFA ML 535, 536 Tuba

Amis, Roylance.

CFA ML 537, 538 Percussion

Flanagan, Genis, Soloman.

CFA ML 539, 540 Harp

Pilot, Poeschl-Edrich.

CFA ML 541, 542 Classical Guitar

Muratore.

CFA ML 551, 552 Repertoire Coaching for Singers

Prereq: consent of instructor. Private coaching in operatic and recital repertoire. Kibbe.

Pedagogy and Literature

CFA MU 215, 216 Keyboard Sight-Reading

Systematic instruction designed to aid keyboard players in the development of sight-reading skills. Materials are drawn from solo and ensemble literature. Open to qualified students with permission of instructor. 1 cr, each sem.

CFA MU 295, 296 Phonetics for Singing

The study of Italian, French, English, and German lyric diction through use of the international phonetic alphabet. Emphasis on mastering the symbols and sounds of the alphabet and the study of its practical application. Approximately one-half term devoted to work in each language: Italian and French, first semester; English and German, second semester. 1 cr, each sem.

CFA MU 308 Piano Pedagogy and Practicum I, II

Teaching methods and materials for use in private and group instruction; literature concerned with leading teachers’ approaches to acquiring musical skill and understanding; observation of studio and class teaching; supervised teaching experience. 2 cr, each sem.

CFA MU 373, 374 String Pedagogy and Practicum I, II

Teaching methods and materials for use in private and group instruction; literature concerned with leading teachers’ approaches to acquiring musical skills and understanding. 2 cr, each sem.

CFA MU 381, 382 String Pedagogy and Practicum III, IV

Continued exploration of source materials and methods addressed in String Pedagogy and Practicum I and II, with additional hands-on teaching experience. 2 cr, each sem.

CFA MU 450 Harpsichord for Keyboard Majors

Study and performance of the harpsichord and its literature. Students instructed in the various aspects of harpsichord playing, including technique, registration, basso continuo realization, performance practice, national styles, and the major composers for the instrument. 2 cr.

CFA MU 473, 474 Organ Literature I, II

Survey of organ literature from pre-Bach to present; emphasis on class illustration from various periods and composers. 2 cr, each sem.

CFA MU 479 Song Literature I: German Lied and Its Development

The development of the Lied genre will be traced from the 18th through 20th centuries, focusing on the poetry and musical setting. Study and performance of Lieder, including songs of Schubert, Schumann, Brahms, Wolf, Schoenberg. 2 cr.

CFA MU 480 Song Literature II: French Mélodie and Russian Song

Study and performance of French mélodie and Russian art song with focus on poetry and pianistic composition, including songs of Fauré , Debussy, Poulenc, Rachmaninoff, and Mussorgsky. 2 cr.

CFA MU 481 Song Literature III: English, Italian, and Spanish Art Song

The development of the English, Italian, and Spanish art song will be traced through study and performance. Among composers to be considered: Dowland, Purcell, Britten, Ives, Argento, Rorem, Granados, Turina. 2 cr.

CFA MU 486 Orchestral Technique

For advanced performers on orchestral instruments. Problems for various instruments in standard orchestral literature. 1 cr.

CFA MU 491, 492 String Literature I, II

Study and performance of standard string solo, sonata, and concerto literature from the Baroque to the present. 2 cr, each sem.

CFA MU 661 Piano Literature I

Study and performance of keyboard music from the Baroque period through the pre-Classical period. 3 cr.

CFA MU 662 Piano Literature II

Study and performance of piano music of the Classical period; emphasis on the works of Haydn, Mozart, and Beethoven. 3 cr.

CFA MU 663 Piano Literature III

Study and performance of piano music of the Romantic period. 3 cr.

CFA MU 664 Piano Literature IV

Performance of piano music from Debussy to present. 3 cr.

Senior Independent Work for Distinction — Procedures

Senior Independent Work for Distinction is intended for qualified students who wish to undertake a specialized and original research project during their senior year of study. A minimum GPA of 3.4 is required of all applicants. For further details, please consult the School of Music Undergraduate Student Handbook.

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Faculty—Music

The following lists reflect the 2008/2009 faculty.

Adjunct faculty are part-time faculty normally employed outside the University.

Aldo Abreu Lecturer, Recorder. MM, Indiana University; Performance and Teaching Diploma, Royal Conservatory

Laura Ahlbeck Lecturer, Oboe. MusB, Ohio State University; MusM, Manhattan School of Music

Michelle Alexander Lecturer, Voice. BM, University of Michigan; MM, New England Conservatory; DMA, University of Minnesota

Ken Amis Lecturer, Tuba. BM, Boston Conservatory; MM, New England Conservatory

Martin Amlin Associate Professor of Music, Chair, Composition & Theory. BM, Southern Methodist University; MM, DMA, Performer’s Certificate, Eastman School of Music

Steven Ansell Associate Professor of Music, Viola. Diploma, Curtis Institute of Music; Principal Viola, Boston Symphony Orchestra; Member, Muir String Quartet

Theodore Antoniou Professor of Music, Composition & Theory. Graduate, National Hellenic Conservatories (Athens); Hochschule für Musik, Munich (Germany)

Sarah Arneson Associate Professor of Music, Voice. BM, University of Nebraska; MM, MLS, Western Michigan University; DMA, University of Michigan at Ann Arbor. Tenured faculty member at the ‘Mozarteum’ Hochschule für Musik

Edwin Barker Associate Professor of Music, String Bass. BM, New England Conservatory; Principal Double Bass, Boston Symphony Orchestra

Cathy Basrak Lecturer, Viola. BM, Curtis Institute of Music

Penelope Bitzas Associate Professor of Music, Voice. BM, Ithaca College; MM, New England Conservatory

Bonnie Black Lecturer, String Pedagogy. BA, BFA, State University of New York; MA, Columbia University

Deborah Burton Assistant Professor of Music, Theory. Piano Diploma, Mannes College of Music; MM, Yale University; PhD, University of Michigan

Lynn Chang Lecturer, Violin. Associate’s Degree, Harvard University

Peter Chapman Lecturer, Trumpet. MusB, MusM, Boston University; Member, Boston Symphony Orchestra

Maria Clodes-Jaguaribe Associate Professor of Music, Piano. MusAD, Boston University; Diploma, Federal Conservatory of Rio de Janeiro (Brazil); Conservatory of Lisbon (Portugal)

Victor Coelho Professor of Music; Associate Provost, Undergraduate Education. BA, University of California, Berkeley; PhD, UCLA

Steven Cornelius Visiting Associate Professor, Musicology and Ethnomusicology, African Studies. BMEd, University of Wisconsin, Madison; MM, Manhattan School of Music; PhD, University of California, Los Angeles

Richard Cornell Associate Professor of Music. BM, Longy School/Emerson; MM, New England Conservatory; PhD, Eastman School of Music

Geralyn Coticone Lecturer, Flute. BM, Boston University

Phyllis Curtin Professor of Music, Opera; Artistic Director, Opera Institute; Dean Emerita. BA, Wellesley College; MusD (hon.), New England Conservatory, Marshall University, Salem College, West Virginia University; Doctor of Humane Letters (hon.), Albertus Magnus College

Sharon Daniels Associate Professor of Music, Opera and Voice; Director of Opera Programs. BM, Chapman College

Diana Dansereau Assistant Professor, Music Education. BM, Eastman School of Music; MME, The Pennsylvania State University; PhD, Georgia State University

André de Quadros Professor, Music Education. BA, University of Bombay; Diploma of Humanities, La Trobe University; Graduate Diploma in Movement and Dance, University of Melbourne; Graduate Diploma in Music, Victorian College of the Arts; Master of Education, La Trobe University; Graduate Certificate of Higher Education, Monash University

James Demler Assistant Professor of Music, Voice. BM, University of New Mexico; MM, University of Arizona

Anthony di Bonaventura Professor of Music, Piano. Curtis Institute of Music

Jay Dorfman Assistant Professor, Music Education. BM, MM, University of Miami; PhD, Northwestern University

Gary Durham Lecturer, Voice. BM, University of Delaware; MM, Boston University

Doriot Anthony Dwyer Adjunct Professor of Music, Flute. BM, University of Rochester; Former Principal Flutist, Boston Symphony Orchestra

Terry Everson Assistant Professor of Music, Trumpet. BM, MM, The Ohio State University

Joshua Feinberg Associate Professor, Composition & Theory. DMA, Columbia University

John Ferrillo Lecturer, Oboe. Artist’s Diploma and Artist’s Certificate, Curtis Institute of Music; Principal Oboe, Boston Symphony Orchestra

Richard Flanagan Lecturer, Percussion. BME, University of Oklahoma; MM, Boston University

Joseph Foley Lecturer, Trumpet. MusB, MusM, Boston University

Sarah Freiberg Lecturer, Baroque Cello. Brown University; Universitat ‘Mozarteum,’ Salzburg; Artist’s Certificate, San Francisco Conservatory; MM, DMA, State University of New York at Stony Brook

Edward Gazouleas Lecturer, Viola. BM, Curtis Institute of Music; Graduate Studies, Yale University; Member, Boston Symphony Orchestra

Timothy Genis Lecturer, Percussion. Bachelor of Performing Arts in Percussion, The Juilliard School; Timpanist, Boston Symphony Orchestra

Andrew Goodrich Assistant Professor, Music Education. BME, University of Montana; MME, DMA, Arizona State University

Ian Greitzer Lecturer, Clarinet. BM, MM, New England Conservatory

Ronald Haroutanian Lecturer, Bassoon. BM, New England Conservatory

Samuel Headrick Assistant Professor of Music, Composition & Theory. BM, MM, North Texas State University; PhD, Eastman School of Music

Brita Heimarck Associate Professor, Musicology. BA, Brown University; MA, University of California, Los Angeles; PhD, Cornell University

John Heiss Lecturer, Flute. BA, Lehigh University; MFA, Princeton University

Gregg Henegar Lecturer, Bassoon. Studied with Sanford Berry, John Mack, Tobert Marcelus, Myron Bloom, and George Goslee

Raphael Hillyer Lecturer, Viola. BA, Dartmouth College; MM, Harvard University

Phyllis Elhady Hoffman Associate Professor of Music, Voice. BMus, MMus, Boston University

David Hoose Professor of Music, Conducting. Conductor, Boston University Symphony Orchestra. BM, Oberlin Conservatory; Graduate Studies, Brandeis University

Laura Jeppesen Lecturer, Viola da Gamba. BA, Wheaton College; MM, Yale University

Linda Jiorle-Nagy Lecturer, Piano. AB, Douglass College of Rutgers University; MM, DMA, Boston University

Ann Howard Jones Professor of Music, Conducting; Director of Choral Activities. BM, MM, DMA, University of Iowa

Patrick M. Jones Associate Professor, Music Education; Chair, Music Education Department. BS, West Chester University; DipFA, The University of Calgary; MA, George Mason University; PhD, The Pennsylvania State University

Daniel Katzen Lecturer, Horn. BM, Indiana University; MM, Northwestern University; Member, Boston Symphony Orchestra

Frank Kelley Lecturer, Voice. BM, Florida State University; MM, Opera Certificate, University of Cincinnati College—Conservatory of Music

Bayla Keyes Associate Professor of Music, Violin. BM, Curtis Institute of Music; MM, Yale University

Shiela Kibbe Assistant Professor of Music, Chair, Collaborative Piano. BM, Ithaca College; MM, Chamber Music and Accompanying, MM, Piano Pedagogy, Temple University

David Kopp Associate Professor of Music, Composition & Theory. BA, Harvard University; MM, State University of New York at Stony Brook; PhD, Brandeis University

Ronald Kos Assistant Professor, Music Education. BM, MM, Northwestern University; PhD, University of Wisconsin

Christopher Kreuger Lecturer, Baroque Flute. BM, New England Conservatory of Music

Michelle LaCourse Associate Professor of Music; Chair, Strings. BM, MM, Artist Diploma, Peabody Conservatory

Benjamin Levy Lecturer, String Bass. BM, New England Conservatory; Member, Boston Symphony Orchestra

Lucia Lin Associate Professor of Music, Violin. BM, University of Illinois, Urbana; MM, Rice University. Member, Boston Symphony Orchestra; Member, Muir String Quartet

Rodney Lister Lecturer, Composition & Theory. BM, New England Conservatory; MFA, Brandeis University

Malcolm Lowe Lecturer, Violin. Diploma, Curtis Institute of Music; Concertmaster, Boston Symphony Orchestra

Don Lucas Associate Professor of Music; Chair, Woodwinds, Brass, and Percussion. BM, MM, Texas Tech; Premier Prix Diploma, Guildhall School of Music (London), Fulbright Scholar

William Lumpkin Assistant Professor of Music, Opera. BM, Eastman School of Music; MA, University of California, Berkeley; DMA, University of Southern California

Richard Mackey Lecturer, Horn. Member, Boston Symphony Orchestra

Thomas Martin Lecturer, Clarinet. BM, Eastman School of Music. Associate Principal and E-Flat Clarinet, Boston Symphony Orchestra

David Martins Adjunct Professor of Music, Conducting. BM, Eastman School of Music; MM, University of Lowell

Dana Mazurkevich Associate Professor of Music, Violin. Diploma, MM, Moscow Conservatory (Russia)

Yuri Mazurkevich Professor of Music, Violin. Diploma, MM, Moscow Conservatory (Russia)

Richard Menaul Lecturer, Horn. BMed, Ithaca College; MM, Northwestern University

Robert Merfeld Lecturer, Collaborative Piano. BM, Oberlin; MM, The Juilliard School

Scott Metcalfe Lecturer, Choral Literature. AB, Brown University; MM, Harvard University

Ikuko Mizuno Lecturer, Violin. BM, Toho-Gakuen School of Music (Japan); MM, Boston University; Member, Boston Symphony Orchestra

John Muratore Lecturer, Guitar. BM, University of Akron; MM, New England Conservatory

George Neikrug Professor Emeritus of Music, Cello. Former Principal Cellist, Pittsburgh Symphony Orchestra, Los Angeles Philharmonic

Suzanne Nelsen Lecturer, Bassoon. BM, McGill University; UM, The Hague Conservatory; Member, Boston Symphony Orchestra

Catherine Nez Assistant Professor of Music, Composition & Theory. BM, Curtis Institute of Music; AB, Bryn Mawr College; MA, Eastman School of Music; PhD, University of California, Berkeley

Emlyn Ngai Lecturer, Baroque Violin. BM, McGill University; MM, Oberlin College; Diploma, Hartt School of Music

Sandra Nicolucci Associate Professor, Music Education. BM, MM, EdD, Boston University

Craig Nordstrom Lecturer, Clarinet. MM, Catholic University

James Orleans Lecturer, Double Bass. BM, Boston Conservatory; Member, Boston Symphony Orchestra

Susan Ormont Lecturer, Voice. BA, University of Pennsylvania; MA, ABD, New York University; MusM, Yale School of Music; Diploma, Franz Schubert Institute (Austria)

Elizabeth Ostling Lecturer, Flute. BM, Curtis Institute of Music; Member, Boston Symphony Orchestra

Chris Parks Lecturer, Music Education; Director of BU Bands and Boston University Music Organizations. BM, University of Texas at El Paso; MM, Boston University

Leslie Parnas Adjunct Professor of Music, Cello. Curtis Institute of Music

Martin Pearlman Professor of Music, Historical Performance; Founder and Music Director of Boston Baroque. BA, Cornell University; MM, Yale University

Thomas Peattie Assistant Professor of Music, Musicology. BM, MA, University of Calgary; PhD, Harvard University

Ann Hobson Pilot Lecturer, Harp. BM, Cleveland Institute of Music; DMA, Bridgewater State College; Principal Harp, Boston Symphony Orchestra

Barbara Poeschl-Edrich Lecturer, Harp. MagArt, Mozarteum, Salzburg; MMus, Trinity College of Music, London; DMA, Boston University

S. Christien Polos Lecturer, Opera. BFA, Boston Conservatory of Dance

Jerrold Pope Associate Professor of Music; Chair, Voice. BM, New England Conservatory; MM, Yale University; DMA, Rutgers University

Robinson Pyle Lecturer, Trumpet, Historical Performance. BM, Oberlin Conservatory

Richard Ranti Lecturer, Bassoon. Diploma, Curtis Institute of Music; Associate Principal Bassoon, Boston Symphony Orchestra

Michael Reynolds Associate Professor of Music, Cello. BM, Curtis Institute of Music; Member, Muir String Quartet

Rhonda Rider Lecturer, Cello. BM, Oberlin Conservatory; MM, Yale University

Joshua Rifkin Professor of Music and Fellow of the University Professors Program, Musicology. BS, The Juilliard School; MFA, Princeton University

Thomas Rolfs Lecturer, Trumpet. BA, University of Minnesota; MM, Northwestern University; Principal Trumpet, Boston Symphony Orchestra

Mike W. Roylance Lecturer, Tuba. BA, Rollins College; Graduate Studies, DePaul University; Principal Tuba, Boston Symphony Orchestra

Matthew Ruggiero Lecturer, Bassoon. Curtis Institute of Music; AB, ALM, Harvard University; Former Member, Boston Symphony Orchestra

Eric Ruske Associate Professor of Music, Horn. BM, Northwestern University; Former Member, Empire Brass Quintet

Marc Schachman Lecturer, Baroque Oboe. BS, MS, Stanford University; DMA, The Juilliard School

Todd Seeber Lecturer, Double Bass. BM, Boston University; Member, Boston Symphony Orchestra

Boaz Sharon Professor of Music and Chair, Piano. Student of Stefan Askenase, Brussels, Belgium; Diplome Superieure, Conservatoire Royale de Belgique, Mons; BM, University of Texas, Austin; MM, Boston University

Robert Sheena Lecturer, Oboe. BM, University of California; MM, Northwestern University; Member, Boston Symphony Orchestra

Andrew Shenton Assistant Professor of Music, Musicology. BMus, London University; MM, Yale University; MA, PhD, Harvard University

Joel L. Sheveloff Professor of Music, Musicology. AB, City University of New York, Queens College; MFA, PhD, Brandeis University

Ethan Sloane Professor of Music, Woodwinds. BM, New England Conservatory; MM, MMA, DMA, Yale University; Doctor of Humane Letters (hon.), Hampden-Sydney College

Samuel Solomon Lecturer, Percussion. BM, MM, The Juilliard School

James Sommerville Lecturer, Horn; Principal Horn, Boston Symphony Orchestra

Maria Spacagna Lecturer, Voice. BM, MM, New England Conservatory

Jane Starkman Lecturer, Baroque Violin and Viola. BM, MM, New England Conservatory

Daniel Stepner Lecturer, Baroque Violin. BM, Northwestern University; MM, DMA, Yale University

Jeffrey Stevens Lecturer, Opera. BA, St. Joseph’s College; MusM, Boston University

Peter Sykes Lecturer, Harpsichord; Chair, Historical Performance. BM, MM, New England Conservatory; Artist Diploma, Concordia University

Linda Toote Lecturer, Flute. BM, Mannes College of Music

Roman Totenberg Professor Emeritus of Music, Violin. Graduate, Warsaw State Junior College; Gold Diploma, Warsaw Chopin Conservatory of Music; Berlin Academy of Music; Instrumental Academy of Paris

Alison Voth Assistant Professor of Music, Opera. BM, University of British Columbia (Canada); MM, Manhattan School of Music

Jay Wadenpfuhl Lecturer, Horn. BM, MM, University of Wisconsin; Member, Boston Symphony Orchestra

John Wallace Assistant Professor of Music, Theory Composition. BM, DePaul University; MM, Northwestern University; DMA, Boston University

Steve Weigt Lecturer, Composition & Theory. BA, MA, University of California at Davis; PhD, Brandeis University

Lawrence Wolfe Lecturer, Double Bass. BM, New England Conservatory

Jeremy Yudkin Associate Professor of Music, Musicology. BA, MA, Cambridge University (England); PhD, Stanford University

Michael Zaretsky Associate Professor of Music, Viola. Graduate, Moscow State Conservatory (Russia); Member, Boston Symphony Orchestra

Peter Zazofsky Associate Professor of Music, Violin. BM, Graduate Certificate, Curtis Institute of Music; Member, Muir String Quartet

Music Emeriti

Phyllis Curtin Professor of Music, Opera; Artistic Director, Opera Institute; Dean Emerita. BA, Wellesley College; MusD (hon.), New England Conservatory, Marshall University, Salem College, West Virginia University; Doctor of Humane Letters (hon.), Albertus Magnus College

Mary Davenport Professor Emerita of Music. BA, Wells College; Diploma, Curtis Institute of Music

Walter Eisenberg Professor Emeritus of Music. The Juilliard School

Wilbur D. Fullbright Professor Emeritus of Music. BA, Oklahoma State University; MFA, Bob Jones University; PhD, Boston University

John Goodman Professor Emeritus of Music. BM, Northwestern University; MM, Yale University; MusAD, Boston University

John Hasson Professor Emeritus of Music. MusB, MA, Boston University; AM, Harvard University

Mark Kroll Professor Emeritus of Music. BA, City University of New York; MM, Yale University

Murray Lefkowitz Professor Emeritus of Music. BM, MM, PhD, University of Southern California

Jack O. Lemons Professor Emeritus of Music. BS, Southwest Missouri State University; MM, EdD, University of Southern California

Joy McIntyre Professor Emerita of Voice. BM, Oberlin Conservatory; MM, New England Conservatory

L. Eileen McMillan Professor Emerita of Music. AB, Colorado State College; MA, EdD, Columbia University

Max Miller Professor Emeritus of Music. BMus, MMus, University of Redlands; PhD, Boston University

George Neikrug Professor Emeritus of Music. Principal Cellist, Pittsburgh Symphony Orchestra, Los Angeles Philharmonic

Chloe Owen Professor Emerita of Music. BA, University of Chattanooga; Peabody Conservatory

Roman Totenberg Professor Emeritus of Music. Graduate, Warsaw State Junior College; Gold Diploma, Warsaw Chopin Conservatory of Music; Berlin Academy of Music; Instrumental Academy of Paris

Edith Stearns Trask Professor Emerita of Music. MusB, Boston University

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16 October 2009
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