0 cr.

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. 0 cr.

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. 3 cr.

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

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. 3 cr.

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

Elementary reading in treble and bass clefs with emphasis on basic scale and arpeggio patterns, intervals, rhythm, and intonation. Notation of pitch and rhythm, spelling of scales and chords. Beginning skills in musical dictation. Credit not applicable to music major. 1 cr. 1 cr.

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. 1 cr.

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

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. 4 cr.

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

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.(*) 2 cr.

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. (*) 2 cr.

For voice majors only. 3cr, each semester. 3 cr.

14 1-hour private voice lessons provided by CFA graduate voice major for students not majoring in vocal performance. Class is offered to students with or without prior vocal experience and no pre-requisites are required. Open to CFA and non-CFA students. Course requires a $1,000 applied music fee. 1 cr.

14 1/2-hour private voice lessons provided by CFA graduate voice major for students not majoring in vocal performance. Class is offered to students with or without prior vocal experience and no pre-requisites are required. Open to CFA and non-CFA students. Course requires a $500 applied music fee. 0.5 cr.

14 1-hour private string lessons provided by CFA graduate string major for students not majoring in string performance. Class is offered to students with or without prior string experience and no pre-requisites are required. Open to CFA and non-CFA students. Course requires a $1,050 applied music fee. 1 cr.

14 1/2-hour private string lessons provided by CFA graduate string major for students not majoring in string performance. Class is offered to students with or without prior string experience and no pre-requisites are required. Open to CFA and non-CFA students. Course requires a $525 applied music fee. 0.5 cr.

14 1-hour private piano lessons provided by CFA graduate piano major for students not majoring in piano performance. Class is offered to students with or without prior piano experience and no pre-requisites are required. Open to CFA and non-CFA students. Course requires a $1,000 applied music fee. 1 cr.

14 1/2-hour private piano lessons provided by CFA graduate piano major for students not majoring in piano performance. Class is offered to students with or without prior piano experience and no pre-requisites are required. Open to CFA and non-CFA students. Course requires a $500 applied music fee. 0.5 cr.

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

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. 1 cr.

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 music majors and Boston University students. 1 cr. 1 cr.

1 cr, each semester. 1 cr.

1 cr. each semester. 1 cr.

Familiarization with string instruments. Basic performance skills as well as pedagogical techniques for teaching string instruments to beginners will be developed. Knowledge of methodologies and maintenance of the instruments will also be developed. Music reading skills required. 1 cr. 1 cr.

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

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

Familiarization of 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 developed. Knowledge of methodologies and maintenance of percussion instruments will also be developed. Music reading skills required. 1 cr. 1 cr.

CFA MU 184 Guitar Class Section A Beginning Guitar is an introduction to the fundamentals of guitar playing. No previous experience is necessary. Students should bring their own guitars. Several are available for rent from the Music Education office. Section B- Intermediate Guitar is designed for students who have acquired some basic guitar and reading skills. Section C- Advanced Guitar is for more experienced guitar students. All sections 1 cr. 1 cr.

Var cr.

1 cr.

This course description is currently under construction. 1 cr.

1 cr.

This course description is currently under construction. 1 cr.

1 cr.

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

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. 3 cr.

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. 3 cr.

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

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. 1 cr.

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. 1 cr.

Systematic instruction designed to aid keyboard players in the development of sight-reading skills. Materials are drawn from solo and ensemble literature. 1 cr.

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 semester. 1 cr.

Historical survey of music from Antiquity to the end of the Baroque. 3 cr. 1st sem. 3 cr.

Historical survey of music from 1750 to the present. 3 cr. 2nd sem. 3 cr.

For description, see CFA MU 221. For College of Arts and Sciences students, who are required to do an additional project or projects as determined by the instructor. 4 cr. 4 cr.

For description, see CFA MU 222. For College of Arts and Sciences students, who are required to do an additional project or projects determined by the instructor. 4 cr. 4 cr.

A study of important issues connected with America's original music: the art of improvisation; the role of composition; innovation and tradition; individuality and style; instruments and forms. We 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. (*) Var cr.

Study of selected major works from each of the historical style periods of Western music: Middle Ages, Renaissance, Baroque, Classic, Romantic, and the twentieth century. Works are chosen to illustrate the broad scope of Western musical history. Open only to non-CFA music majors. 2 or 4 cr. (*) Var cr.

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 Boh�me,Mozart's Don Giovanni, Wagner's Tristan und Isolde, and Alban Berg's Lulu. Open only to non-CFA music majors. 2 or 4 cr. (*) Var cr.

The triumph of the human spirit through the symphonic ideal. An introduction to the nine symphonies, chamber music, piano sonatas, concertos, the overtures, and the opera Fidelio. Open only to non-CFA music students. 2 or 4 cr. (*) Var cr.

A survey of the complex and fascinating relationship between music and the society it mirrors, from Plato to Punk. Focuses on 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. (*) Var cr.

This multi-media 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. 4 cr.

Required of music education students and open to any University student interested in building a basic repertoire of teaching skills. Discussion of student's 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. Instuctional strategies of master teachers including attention and clarity moves are studied, analyzed, and practiced. Analysis of teacher attributes as portrayed in films. Development of a repertoire of songs for classroom use. FIELD EXPERIENCE: 25 hours of sustained weekly Friday morning internship in a public secondary school music program. 2 cr. 2 cr.

The study of contemporary philosophies and curricula related to the elementary school music program. Experiences in music listening, performing (i.e., singing and playing instruments), and creating provide a basis for evolving goals and teaching strategies for the development of musical concepts appropriate to the elementary school. 2 cr.

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

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

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. 1 cr.

0 cr.

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. 2 cr.

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. 2 cr.

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. 2 cr.

Prereq: 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. 2 cr.

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 semester. 2 cr.

2 cr.

Music from Domenico Scarlatti to Liszt. 3 cr. 3 cr.

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. 3 cr.

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 JS Bach. 3 cr. 3 cr.

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

The study of music and musical cultures from around the world. Introduction to the music and context of Black America, Africa, India, Japan, Indonesia, and the North American Native Indian traditions. Discussion of issues such as orientalism (i.e., Western representations of the Orient) and the need to develope cultural identities in once-colonized countries. 3 cr. 3 cr.

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 with individual or groups of composers. 3 cr.

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. 3 cr.

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. 3 cr.

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. 3 cr.

4 cr.

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. 4 cr. 4 cr.

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 JS Bach. 4 cr. 4 cr.

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

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. 4 cr. 4 cr.

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 with individual or groups of composers. 4 cr.

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. 4 cr. 4 cr.

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. 4 cr. 4 cr.

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. 4 cr. 4 cr.

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. 3 cr.

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. 3 cr.

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. 3 cr.

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. 3 cr.

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. 3 cr.

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. 4 cr. 4 cr.

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. 4 cr. 4 cr.

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. 4 cr. 4 cr.

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. 4 cr. 4 cr.

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. 4 cr. 4 cr.

Philosophy and goals of the general music program from kindergarten through grade 9. Techniques and experiences employed to implement the development of musical concepts and skills; activities and teaching materials related to the musical development of the child. 4 cr.

Philosophical foundations and objectives of music programs in grades 5 through 12. Development of teaching materials and presentation of representative lessons; techniques of analysis and evaluation. 4 cr.

Pre-K-5. Supervised student teaching in grades K-5, weekly seminar, individual conferences with University supervisor. Six weeks; minimum 150 hours required. 4 cr. each semester. 4 cr.

Supervised student teaching in 5-8; weekly seminar, minimum of 150 clock hours; weekly seminar; individual conferences with University supervisor. 4 cr. each semester. 4 cr.

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 semester. 2 cr.

Supervised student teaching in grades 8 through 12; six weeks, minimum of 150 clock hours; weekly seminar; individual conferences with University supervisor. 4 cr. each semester. 4 cr.

Supervised music teaching in grades 5 through 12; minimum of 150 clock hours; weekly seminar; individual conferences with University supervisor. 4 cr.

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. 2 cr.

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. 2 cr.

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. 2 cr.

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. 2 cr.

2 cr.

1 cr.

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 pre-requisite to casting in scenes. 2 cr, each semester. 2 cr.

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. 2 cr.

2 cr.

Review of fundamental music theory and analysis through the study of chord grammar, voice-leading principles, figured bass, four-part chorale harmonizations and form. Materials are approached through listening, writing and analytical work. An aural skills component will be covered in the final half-hour of each weekly meeting. 2 cr. 2 cr.

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

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

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 graudate credit with permission. 1 cr. 1 cr.

Var cr.

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

This course seeks to give the students the aesthetic and technical knowledge needed to complete individual, creative work using electronic media alone or with acoustic instruments. The course will make use of computers, recording equipment, digital editing software, and sound analysis software: developing basic skills in synthesis, sampling, digital recording and live performance techniques. Listening assignments will provide an introduction to existing literature and relevant aspects of acoustic and electronic theory will be discussed. May not be taken concurrently with CFA MU 412. 2 cr course offered both Fall and Spring semesters. 2 cr.

Prereq: CFA MU411 or MU611 or equivalent experience and permission from instructor. This course seeks to expand to students the aesthetic and technical knowledge in the domains of computer music, sound manipulation and sound recording. It also seeks to introduce Computer Assisted Composition environments and real-time interaction between electronics and instruments. 2 cr course offered both Fall and Spring semesters. 2 cr.

Prereq: CFA MU 412/612 or equivalent experience and permission of instructor. More advanced computer music applications focusing on synthesis, real-time interaction and high-level musical control of processes. 2 cr course offered both Fall and Spring semesters. 2 cr.

Exploration through collective music making, of American musical styles and performance practice from 1661 to 1940, with applications and strategies for inclusion in the general music classroom. Open to music education students, and to other music students by approval of instructor. 2 cr.

0 cr.

Introduction to the Organ, a companion course to MU450 Introduction to the Harpsichord, will cover organ technique, repertoire, registration, history, and design. Basic techniques of touch, pedaling and coordination, and hymn playing will be addressed, as well as a survey of the literature written for the organ as related to developments in organ design and technology. Visits to local organs on and off campus will be included as well as classes regularly held in Room 426 where there is a seven-stop Noack mechanical studio organ. 1 cr. 1 cr.

Jewish music as an expression of Jewish heritage, from anciet Israel to modern America. Sacred music, folk songs, musical influence of host countries, nineteenth-century antagonisms, nineteenth-century themes and composers in Diaspora. Reading, listening and analysis, group presentation, performance, debate, final exam, and term paper. 4 cr. 4 cr.

Jewish music as an expression of Jewish heritage, from ancient Israel to modern America. Sacred music, folk songs, musical influences of host countries., nineteenth-century antagonisms, twentieth-century themes and composers in Diaspora. Reading, listening, and analysis; group presentation, preformance, debate, final exam, and term paper. 4 cr. 4 cr.

2 cr.

Performance for singers: emphasis on style, interpretation, and perfection of diction. 1 cr. 1 cr.

Study and performance of chamber music with one or more keyboard instruments from the Baroque, pre-Classical, and Classical periods, emphasis on the works of J. S. Bach and his sons, Haydn, Mozart, and Beethoven as well as on appropriate performance practices. 2 cr.

Study and performance of chamber music with one or more keyboard instruments from the nineteenth and twentieth centuries; while the standard repertoire is covered (Schubert, Schumann, Brahms, Dvorak, Prokofiev, and others); particular emphasis is placed on contemporary works. 2 cr.

2 cr.

Individual tutorial instruction and directed study at distinction level. Final project: thesis on original research topic. By permission only. 2 cr.

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. 2 cr.

Basic keyboard patterns and extemporization, especially relating to church use. Realization of figured bass accompaniments. 2 cr.

Practicum for vocal accompaniment majors. Var cr.

Var cr.

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. 2 cr.

Contemporary philosophies and goals of general music; content of the general music program from kindergarten through junior high school; techniques and problems of curriculum development. 2 cr.

For non-majors only. Basic principles of vocal production; application of these principles to the training of singers in classes and vocal ensembles; the use of the singing voice at various stages of maturation. The practice of singing through vocalises and song literature. 2 cr. 2 cr.

This course description is currently under construction. 4 cr.

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 semimar cohort may design a single project involving field-work 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. 2 cr.

Survey and analysis of music for large and small ensembles including boys' and girls' glee clubs, mixed chorus, and choir of all levels of performance. Emphasis is placed on conducting and teaching music of the various style periods. 2 cr.

Study of techniques employed in the teaching of instruments; analysis of sequential experiences for beginning and intermediate instrumental students in homogeneous and heterogeneous classes; development, adaptation, and composing of materials and literature for instrumental instruction. 2 cr.

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

Development of knowledge and skills in the choral field at a professional level; various periods and composers and relationship of different styles to the conductor's art; musical analysis and practice in conducting. 2 cr.

Interpretation of major choral works; literature selected from masses, requiems, and magnificats, representing all historical periods; significant compositions; particular attention to stylistic elements. 2 cr.

Parallels CFA MU 477, but with literature selected from cantata, passion, and oratorio. 2 cr.

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 and Schoenberg. 2 cr. 2 cr.

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

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. 2 cr.

Summer course only. 2 cr.

Function and use of music education technology; development and use of computer, audio, video, and visual materials for the teaching of music. 2 cr.

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

Performance for signers: emphasis on style, interpretation, and perfection of diction in Italian, English, German, French, and other vocal literature. 1 cr. 1 cr.

Study and performance of string literature from the Baroque to the present. 2 cr. each semester. 2 cr.

Development of knowledge and skills in the instrumental field at a professional level; various periods and composers and relationship of different styles to the conductor's art; musical analysis and practice in conducting. 2 cr.

4 cr.

Var cr.

4 cr.

Musical traditions throughout the world are considered through analytical, social, and aesthetic approaches. Among the cultures examined and 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 practicies. This introductory course is appropriate for both music majors (4 cr) and non-majors (3 cr) Var cr.

1 cr. 1 cr.

Introduction to principles of composition. Instruction in calligraphy and manuscript preparation. Examination of contemporary music devices. Written work modeled on analyses of representative forms.2 cr. each semester. 2 cr.

Introduction to principles of composition. Instruction in calligraphy and manuscript preparation. Examination of contemporary music devices. Written work modeled on analyses of representative forms. 2 cr. each semester. 2 cr.

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

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

Prereq: CFA MU 562, 564. Original work in contemporary musical composition. Undergraduate. 3 cr. each semester. 3 cr.

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

Var cr.

1 cr.

4 cr.

This course description is currently under construction. 1 cr.

Prereq: Two years of composition. Original work in advanced problems of musical composition. May be repeated for credit. 3 cr. 3 cr.

4 cr.

Study and directed assignments in conducting of significant works, vocal and instrumental, in addition to required attendance at rehearsals of assigned groups. Var cr.

4 cr.

2 cr.

Required for undergraduate and graduate Music Education students registered for Practicum. First semester seminar topics will include development of an educational philosophy, resume preparation, job interviewing, and classroom behavior management. Second semester seminar topics include a refresher on job interviewing, assessment, public and parental relations, 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. 0 cr. 2 semesters. 0 cr.

1 cr.

2 cr.

1 cr.

2 cr.

Systematic and empirical investigations into formal and compositional procedures of selected masterworks from the tonal repetoire. Lectures leading to individual analytical projects. Online Course. 4 cr.

Systematic and empirical investigations into formal and compositional procedures of selected masterworks from the tonal repertoire. Lectures leading to individual analytical projects. Credits not applicable to MusAD in Composition. 3 cr. 3 cr.

Analysis of contemporary music. Investigation into compositional methods and procedures used in twentieth-century music. Lectures leading to individual analytical projects. Credits not applicable to MusAD in Composition. 3 cr. 3 cr.

Prereq: Intermediate-level scoring for chamber combinations, small and large orchestra and bands, and combined mediums. 2 cr. 2 cr.

2 cr.

Analysis and writing of examples of fugues in three and four voices based on the practice of J. S. Bach and his contemporaries. 2 cr. 2 cr.

Analysis and writing of sixteenth-century vocal styles based on the practices of Palestrina, Lassus, and others. 2 cr. 2 cr.

Prereq: for composers, CFA MU 564, MU 603; for others, permission of instructor. Theoretical and practical experience for composers and their collaborators in producing music for theatre and film. Studio environment and its relationship to compositional and instrumental choices. Aspects of dramatic appropriateness, editing, cueing, and synchronization. Collaborative projects on scenes and film segments. 2 cr. (May be repeated once for credit.) 2 cr.

Practical application of theoretical skills: keyboard realization, score reading, rehearsal techniques, advanced solf�ge and intonation drills, and analytical problems as related to the needs of the performing musician. Performance problems of contemporary literature. Materials drawn from solo and ensemble music of all periods. Elective course for junior level and above, including graduate students. 2 cr, each semester. 2 cr.

Practical application of theoretical skills: keyboard realization, score reading, rehearsal techniques, advanced solf�ge and intonation drills, and analytical problems as related to the needs of the performing musician. Performance problems of contemporary literature. Materials drawn from solo and ensemble music of all periods. Elective course for junior level and above, including graduate students. 2 cr. 2 cr.

This course seeks to give the students the aesthetic and technical knowledge needed to complete individual, creative work using electronic media alone or with acoustic instruments. The course will make use of computers, recording equipment, digital editing software, and sound analysis software: developing basic skills in synthesis, sampling, digital recording and live performance techniques. Listening assignments will provide an introduction to existing literature and relevant aspects of acoustic and electronic theory will be discussed. May not be taken concurrently with CFA MU 412. 2 cr course offered both Fall and Spring semesters. 2 cr.

Prereq: CFA MU411 or MU611 or equivalent experience and permission from instructor. This course seeks to expand to students the aesthetic and technical knowledge in the domains of computer music, sound manipulation and sound recording. It also seeks to introduce Computer Assisted Composition environments and real-time interaction between electronics and instruments. 2 cr course offered both Fall and Spring semesters. 2 cr.

Prereq: CFA MU 412/612 or equivalent experience and permission of instructor. More advanced computer music applications focusing on synthesis, real-time interaction and high-level musical control of processes. 2 cr course offered both Fall and Spring semesters. 2 cr.

Prereq: CFA MU 613 or permission of instructor. Individual projects in composition and research. May be repeated for credit. 2 cr course offered both Fall and Spring semesters. 2 cr.

Analysis and original application of such techniques as polyharmony, atonality, pandiatonicism, linear counterpoint, multirhythms, and aleatory types. 2 cr, each semester. 2 cr.

Exploration through collective music making, of American musical styles and performance practice from 1661 to 1940, with applications and strategies for inclusion in the general music classroom. Open to music education students, and to other music students by approval of instructor. 2 cr.

Methods, materials, and sequence for teaching music theory. Texts, course content, new approaches, and inclusion of contemporary techniques in curriculum. 2 cr. 2 cr.

Critical discussion of the theory techniques of Heinrich Schenker and his followers. Lectures leading to individual projects employing his methods. 3 cr. 3 cr.

Introduction to the Organ, a companion course to MU450 Introduction to the Harpsichord, will cover organ technique, repertoire, registration, history, and design. Basic techniques of touch, pedaling and coordination, and hymn playing will be addressed, as well as a survey of the literature written for the organ as related to developments in organ design and technology. Visits to local organs on and off campus will be included as well as classes regularly held in Room 426 where there is a seven-stop Noack mechanical studio organ. 1 cr. 1 cr.

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, and practiced. Analysis of teacher attributes as portrayed in films. Development of a repertoire of songs for classroom use. Field Experience: 25 hours of sustained weekly Friday morning internship in public elementary school general classroom. 2 cr. 2 cr.

From backgrounds in organ, clavichord, and harpsichord, music of the Baroque period to sonatas and character pieces of Schubert. 3 cr. 3 cr.

From piano music of Mendelssohn to contemporary repertory; emphasis on impact of virtuosity and perfection of idiomatic writing in the keyboard style of the nineteenth century. 3 cr. 3 cr.

2 cr.

Rossini, Donizetti, and Bellini; sociopolitical backgrounds of Italian opera in the nineteenth century; Verdi: Aida, Otello, Falstaff; verismo and its exponents. Influence of Wagner on Italian opera; Giacomo Puccini. 3 cr. 3 cr.

Based on new methodologies for teaching world music through the direct experience of performing the music. The improvisational elements will be fundamental to the course. 3 cr. 2 cr.

4 cr. 4 cr.

Rienzi to Lohengrin. Aesthetics of the music drama; Der Ring des Nibelungen; the leitmotiv device; Wagner's prose works. The neo-German controversy in the writings of Hanslick, Kurth, Lorenz, and other contemporary analysts; Tristan and the path to the future. 3 cr. 3 cr.

This course will explore, through live performances contributed by its participants, issues of Bach interpretation, ranging from questions of historical practice to relationships between structural analysis and musical realization. Course content varies by semester. 3 cr. 3 cr.

His operas, oratorios, concerti grossi, organ and clavier works, and solo and chamber pieces. His apprenticeship in Hamburg, Italian travels, and work in Hanover and in England. Results of recent Handel scholarship. 2 cr.

Early training and travels: Salzburg and Vienna, Mozart and Haydn. Emphasis on Mozart's contributions to literature of the symphony, chamber music, concerto, sonata, opera, song, and mass; recent Mozart research and chronology. 3 cr. 3 cr.

His work in relation to his life and times; contributions to the expansion of classic symphonic and sonata principles and developmental techniques. Emphasis on his symphonies, chamber music, sonatas, and concertos; Beethoven's influence on later nineteenth-century composers. 3 cr. 3 cr.

His life and times. Early training and influences. The songs, the chamber music, the symphonies, the stage works. Religious music and piano music. 3 cr. 3 cr.

The Classical Romantic. Brahms and Beethoven; the symphonies and his technique of germinal motivic construction. Brahms and Schumann; the chamber music, the songs, and the requiem. Brahms and Wagner; the composer as musicologist. 3 cr. 3 cr.

Two-semester sequence of vocal coaching training using diction as the threshold for study of repertoire styles and coaching approaches. Fall semester: Italian song, German lieder, opera arias. Spring semester: French m�lodie, American and British art song, oratorio arias. Required for all MM candidates in Collaborative Piano. Open to graduate students by permission of instructor; advanced piano skills necessary; audition may be required. 1 credit per semester. Pre-requisite: MU 295/296 Phonetics for Singers or its equivalent. 1 cr.

Training with Rimsky-Korsakov and early works for the Diaghilev Ballet. Neoclassic period: from the octet to the violin concerto; his writings about music; American period: from Dumbarton Oaks to The Rake's Progress. His compositions in the serial techniques. 3 cr. 3 cr.

4 cr. 4 cr.

The German Lied, the French art song, and other European art songs in the nineteenth and twentieth ceturies. Emphasis on Schubert, Schumann, Brahms, Wolf, Mussorgsky, Faure, and Debussey. 3 cr. 3 cr.

Development of larger choral forms from the Renaissance period to the present: oratorios, cantatas, masses, and combined media-sacred and secular. 3 cr.

Topics include the library, basic research materials, primary and secondary sources, reading and writing about music, editions and editing, and sound recordings. 2 cr. 2 cr.

Various groups including symphony orchestra, jazz lab band, repertory orchestra, wind ensemble, brass ensemble, Collegium Musicum, Time's Arrow, and other conducted organizations. (May be repeated for credit.) 1 cr. 1 cr.

Basic techniques for the singing actor and performance of solo and ensemble scenes from the standard operatic repertoire; musical and dramatic coaching; language coaching. Var cr.

For freshman keyboard, guitar, and voice students (who would ordinarily be in the chorus). Half of the class time spent in movement and movement-related activities, the other half in singing and diction instruction. This course is offered in conjunction with MU 653, and the grade issued is an average of the Chorus and Movement grades. 1 cr.

A large mixed group studying and performing the great literature from the choral-symphonic tradition. Open to any singer. No audition. Required of all students for whom chorus satisfies the required musical organization (i.e., voice, keyboard, guitar, music education) and all choral conducting majors. Satisfies musical organization requirement with a section of CFA MU 654. (May be repeated for credit) .5 cr. 0.5 cr.

Membership is by audition. Students are placed by the director of choral activities. 0.5 cr.

Basic techniques for the singing actor and performance of solo and ensemble scenes from the standard operatic repertoire; musical and dramatic coaching; language coaching. 1 cr.

Ensemble and accompaniment skill-building for piano performance majors lacking in collaborative musical experience. Vocal and instrumental repertoire and accompaniment techniques. Required weekly accompaniment of music majors outside of class time. Serves as Music Organization credit for piano majors only. May be repeated for credit with permission of instructor. 1 cr.

Performance and praxis of contemporary styles from 1900 to the present. Participation in contemporary music concerts and Composers' Forum presentations. (May be repeated for credit.) Does not fulfill musical organization requirement. 1 cr.

Students receive instruction in the preparation and techniques of conducting contemporary music and are assigned conducting projects in the Contemporary Collegium or with other related groups. 1 cr.(May be repeated for credit once.) 1 cr.

Prereq: CFA MU 660 or consent of instructor. Philosophy and goals of 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 signing, listening, movement, composing, improvising, reading music, and instrument playing. Field Experience: 25 hours of weekly Friday morning group observations of master elementary music teachers. 4 cr. 3 cr.

Development of instructional strategies related to use of classroom time, space, and lesson momentum. Principles of learning and classroom behavior management techniques are practiced. Introduction to basic music teaching methodology and materials. Analysis of teacher attributes as portrayed in films. Field Experience. 25 hours of sustained weekly Friday morning internship in a public secondary school music program. 2 cr. 2 cr.

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

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

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

Study and performance of piano music from Debussy to the present. 3 cr.

Prereq: CFA MU 659. Philosophy and goals for the music program in grades 5 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 amoung 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: 25 hours of weekly Friday morning group observations of secondary level music teachers or sustained internship in a secondary level music program. 4 cr. 3 cr.

Through the experience of playing in a drumming circle led by a master drummer, students will learn authentic performance techniques and will gain confidence in rhythmic improvisation. Cultural, societal, and historical contexts will be studied informing students about the importance of drumming in all segments of African societies. 2 cr. Contemporary approaches to music in the elementary school. Promoting creativity and self-awareness in elementary students through the exploration of the arts; creative activities as a means to conceptual learning and aesthetic expression. 2 cr.

Seminar discussion, individual study, and research on projects approved by music education faculty; individual conferences with assigned faculty members; oral report and a document submitted at conclusion of semester. 4 cr.

Choral music and teaching methods for large and small school ensembles including children's choirs, adolescent choirs, and 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 presentation, and development of a sequential choral program from elementary through high school. 2 cr. 2 cr.

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. 2 cr.

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. 1 cr.

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. 1 cr.

Development of knowledge and skills in the choral field at a professional level; various periods and composers and relationship of different styles to the conductor's art; musical analysis and practice in conducting. 2 cr.

Admission by audition. Four-hand and ensemble work for piano; works using piano with small combinations of instruments. (May be repeated for credit.) 2 cr. 2 cr.

Study and performance of chamber music for combinations of percussion instruments. (May be repeated for credit.) 2 cr.

Development of knowledge and skills in the choral field at a professional level; various periods and composers and relationship of different styles to the conductor's art; musical analysis and practice in conducting. 2 cr.

Interpretation of major choral works; literature selected from masses, requiems, and magnificats, representing all historical periods; significant compositions; particular attention to stylistic elements. 2 cr.

Parallels SFA MU 477, but with literature selected from cantata, passion, and oratorio. 2 cr.

Students will examine general music instruction through the lenses of higher oral thinking, multiple intelligences, and connectivity. This course will present ways that general music teachers can become reflective practitioners who stimulate their students to react powerfully and imaginatively to music. Teaching that 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. 2 cr.

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. 2 cr.

Analysis and practice in piano accompaniment of singers and instrumentalists; sight reading and transposition; dicussion of style and performance. (May be repeated for credit.) 2 cr.

Development of knowledge and skills in the instrumental field at a professional level; various periods and composers and relationship of different styles to the conductor's art; musical analysis and practice in conducting. 2 cr.

0 cr.

For advanced performers on orchestral instruments. Study and preparation of standard orchestral excerpts, critique and mock-auditions. 1 cr.

Function and use of music education technology; development and use of computer, audio, video, and visual materials for the teaching of music. Graduate students only. 2 cr.

2 cr.

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 pre-requisite to casting in scenes. 1 cr.

Continuation of CFA MU 397/697. Training in the awareness of the dramatic aspects of music as basis for characterization and includes an introduction to scene work. Graduate students only. 1 cr.

Prereq: CFA MU 601. Advanced work in tonal, structural, and rhythmic analysis; analysis of late nineteenth-century music. 3 cr. 3 cr.

Prereq: CFA MU 616. Structural problems in tonal music; principles of serial organization, rhythm, texture, and form. Contemporary problems in style and syntax. 3 cr. 3 cr.

Prereq: CFA MU 603. Cotemporary orchestral techniques. Advanced study in scoring for modern orchestras, ensembles, choruses, bands, and combined media. 3 cr. Var cr.

Prereq: CFA MU 605. Analysis and writing of genres and style of contrapuntal practice, including but not limited to fuges from theAdvanced writing and analytical problems of fugues and related genres from the eighteenth century through the twentieth century. 2 cr. 2 cr.

Advanced compositional projects imitating styles and procedures of various homophonic genres, including variation, rondo, and sonata; problems of continuity in tonal movements. 2 cr. 2 cr.

2 cr.

2 cr. 2 cr.

A continuation of the topics begun in Piano Pedagogy MU708, this course begins with the pedagogical works of Ortmann and Schultz and focuses on teaching techniques for more advanced students. Piano works of major composers are discussed with emphasis on literature selection for different phases of pianistic development. 2 cr. 2 cr.

Close study of specifically defined areas in theory and analysis. Individual papers and projects assigned by the instructor. 3 cr.(May be repeated for credit.) 3 cr.

Original work utilizing the facilities of the Boston University electronic music studios. (May be repeated for credit.) 3 cr.

1 cr.

Preparation for doctoral qualifying examination in music theory; may be required by a department prior to student's applying to take qualifying examinations. Students may be required to repeat course without credit. 2 cr. 3 cr.

Prereq: CFA MU 620. Extended exercises in Schenkerian analyic technique. Readings from primary and secondary sources. Historical development of Schenkerian theory. Extensions of analytic technique to other repertories. Critiques of the Schenkerian approach. 3 cr. 3 cr.

The Greek heritage. Music from Gregory the Great to the death of Dunstable, religious and secular monody: Gregorian chant, troubador and trouv�re music. Origin and development of medieval polyphonic forms and techniques. Major musical manuscript and theoretical writings. 3 cr. 3 cr.

Sacred and secular music from the fifteenth to the early seventeenth century. Development of larger religious and secular polyphonic forms: mass, psalmody, hymnody, chanson, frottola, madrigal. Early instrumental forms. Music of Dufay, Ockeghem, Josquin, Gesualdo, Lassus, Palestrina, Gabrieli, and Byrd. 3 cr. 3 cr.

Music in the seventeenth and first half of the eighteenth century, from Monteverdi and Sch�tz to Bach and Handel. Rise of new forms and growth of instrumental music: opera, oratorio, cantata, trio sonata, solo sonata, concerto, concerto grosso, aria, fugue, and dance suite. 3 cr. 3 cr.

Galant style of the eighteenth century. Musical sensibility and emergence of the Classical idiom. The Mannheimers and early Italian symphonists; C.P. E. Bach in Berlin; further developments in Paris, London, and Vienna. Haydn, Mozart, and Beethoven. 3 cr. 3 cr.

The nineteenth century. Intellectual and literary foundations of the romantic movement. Beethoven's legacy. Expansion of the symphony and orchestra. Romantic expression through the Lied, symphonic poem, character pieces, programmaticism, virtuosity, cyclical treatment. Music of Schubert, Mendelssohn, Schumann, Brahms, Berlioz, Liszt, Wagner, and Bruckner. 3 cr. 3 cr.

Sch�nberg, Berg, and Webern. Dissolution of the tonal system and development of the serial principle of construction. The Viennese atonalists during late German romanticism and French impressionism. 3 cr. 3 cr.

Bart�k, Hindemith, Stravinsky, Prokofiev, Ives, and others. Relationship to traditional harmonic principles and to formal structures of the past. Influence of folk and national materials. 3 cr. 3 cr.

Var cr.

Keyboard and other continuo players are given note-by-note analysis and coaching of selected continuo realizations, both written and improvised. Non-keyboard players are given tutelage in basic continuo realization appropriate to their level of keyboard skill, so that they may be able to accompany their future students, and also to better appreciate and have more discernment of the continuo player’'s role in ensembles in which they take part. Additionally, they will play their own instruments (or sing) in the class so that the keyboard players have practice in realizing figured bass accompaniments. For both, a historical overview of the practice of figured bass accompaniment is given together with stylistic analysis and practical musical coaching. Var cr. Var cr.

3 cr.

Choral and instrumental performance practices from medieval times to the present. Ornamentation and improvisation. Notation problems. Pitch, tuning, and temperament. Tempi and dynamics. Early instruments and early music. Growth and development of the orchestra. Editorial practices. 3 cr. 3 cr.

The creation and development of polyphonic music from its uncertain origins in the ninth century through the schools of Compostela, St. Martial, and Notre Dame, to the secular and sacred works of the late-fourteenth-century "mannerists." 3 cr. 3 cr.

Musical instruments from earliest times to the present. Classification by types. Analysis of construction and performance limitations. Relation to social, political, economic, and scientific factors during specific cultural epochs. 1 cr.

Survey of literature and project research in music education; formulation of bibliography; intensive and extensive study in one area by each student that culminates in a project employing research techniques. 4 cr.

4 cr.

1 cr.

Development of cyclic mass and motet in the fifteenth and sixteenth centuries; works of Dufay, Ockeghem, Josquin, Lassus, Byrd, and others. 3 cr. 3 cr.

French chanson, German Lied, Italian frottola and madrigal, vilanelle, English madrigal and ayre, the air de cour. Dissemination of styles. 3 cr.

This course examines the legacy of music written for liturgical and non-liturgical use, using longer texts. It will trace the origins, formulary, and development of the texts (including discussion of the authors). Four case studies from different periods of music history will form the basis of further enquiry. Cultural, social and historical context of the first performance will be discussed, along with an examination of the theology behind the text setting (including, for example the use of numerology and other types of musical symbolism). There will be comparison with other examples in the same genre, discussion of changes in text and approach, and national differences in style and technique. Historically informed performance practice, manuscript and source studies, reception history and comparison of editions will all be used to provide greater understanding of the works. 3 cr.

Music in France during the Third Republic (1870-1940) This course offers a comprehensive study of the renaissance of music in France after the Franco-Prussian War, concentrating on Paris as a musical center. It will investigate the rise of societies, schools and groups for music, and landmark events such as the Paris Universal Exhibition of 1889. In addition to an examination of key works by important French composers (including Faur�, Debussy, Satie, Ravel and Les Six), it will assess the impact of Russian music, Wagner, Cocteau, Stravinsky, Diaghilev and Boulanger on the French musical scene. As well as studying the socio-political background to important events, it will look closely at allied arts (especially literary and visual arts) and important movements such as orientalism, impressionism and expressionism. (Knowledge of French language not necessary.) The course will include a visit to the Museum of Fine Art in Boston to see the French Collection of this period, and if possible a field trip to see one or more of the French music concerts in the area during the semester. 3 cr. 3 cr.

Music in Germany and Austria after Wagner and to the end of the Romantic style. Postromantic expression; idealism and realism. Disintegration of classic harmony and development of new concepts of tonality; works of Mahler, R. Strauss, Wolf, Reger, Pfitzner, and Sch�nberg. 3cr. 3 cr.

Early music in the colonies. Various attempts to create an individual "American" musical style. Diversity of influences: European, African American, Indian, Spanish-Mexican, religious, jazz, folk song, minstrel, etc. Music of Billings, Lowell, Mason, Gottschalk, MacDowell, Ives, Gershwin, Copland, and others. 3 cr. 3 cr.

1 cr.

A survey of critical thought on music from the eighteenth through the twentieth centuries. Eighteenth-century theories of imitation and effect; aesthetics of opera; vocal vs instrumental music. Nineteenth-century controversies: absolute vs program music; music drama vs number opera. Composer-critics from E.T.A. Hoffman, Schumann, Berlioz, and Wagner to Debussy, Sch�nberg, Ives, and Sessions. Major trends in twentieth-century criticism as seen in the writings of Tovey, Rosen, Kerman, Meyer, Adorno, and Dahlhaus. 3 cr. 3 cr.

Methods and materials of research in music. Bibliography and bibliographical aids. Style informal writing, leading historians of the past and present, introduction to musicology. 4 cr.

Methods and materials of research in music; bibliography and bibliographical aids; individual treatment in special areas; style in formal writing; leading historians of past and present; introduction to musicology. 3cr. 3 cr.

2 cr.

Consideration of major performance issues in the music of the 17th and 18th centuries. Covers topics such as ornamentation, tempo, articulation, tuning and temperament, baroque instuments and their playing techniques, baroque dance, and various national styles of playing. Students perform on their instruments, discuss performance issues, read primary sources and other material about 17th and 18th century performance, compose ornamentation, and listen to and discuss recorded performances. occasional guest lecturers. Required of all historical performance majors. Open to other music graduate students with permission of the instructor. MU750 is a prerequisite for MU751 except with permission. 2 cr.

1 cr.

Early music in the colonies. Various attempts to create an individual �American� musical style. Diversity of influences: European, African American, Indian, Spanish-Mexican, religious, jazz, folk song, minstrel, etc. Music of Billings, Lowell, Mason, Gottschalk, MacDowell, Ives, Gershwin, Copland, and others. (4 credits) 4 cr.

4 cr.

Overview of music education research. Research design and methodology to include development of hypotheses, problems and subproblems, qualitative research, survey, observational, causal comparative, experimental, evaluation, and historical research. Ability to understand, interpret, and use research in teaching and learning. (4 credits) 4 cr.

Standard notational methods; chord vocabulary; arrangements of popular melodies in a variety of styles; development of materials from lead sheets; class performance of arrangements. (4 credits) 4 cr.

4 cr.

2 cr.

For teachers of music, art, literature, and social studies, and administrators. Objectives, organization and content, resources, and use of instructional media. 4 cr.

An overview of the function of schooling processes involved in education and the relationship of the principles of music education. Historical, philosophical, and psychological foundations of music education are examined. Aims, goals, principles, and objectives are derived from these foundations. 4 cr.

Emphasis on program building, methods, administration, supervision, and evaluation. These concepts are applied to the theoretical and practical problems of music education. Leonhard and House continue as a text supplemented by Klotman's Supervision and Administration, publications like Toward Civilization and Can We Rescue the Arts for America's Children, and Colwell's Evaluation of Music Teaching and Learning. 4 cr.

Overview of music education research. Research design and methodology to include development of hypotheses, problems and subproblems, qualitative research, survey, observational, causal comparative, experimental, evaluation, and historical research. Ability to understand, interpret, and use research in teaching and learning. Designed primarily for master's degree students. 4 cr.

An overview of the function of schooling processes involved in education and the relationship of the principles of music education. Historical, philosophical, and psychological foundations of music education are examined. Aims, goals, principles, and objectives are derived from these foundations. Online Course. 4 cr.

Emphasis on program building, methods, administration, supervision, and evaluation. These concepts are applied to the theoretical and practical problems of music education. Leonhard and House continue as a text supplemented by Klotman's Supervision and Administration, publications like Toward Civilization and Can We Rescue the Arts for America's Children, and Colwell's Evaluation of Music Teaching and Learning. Online Course. 4 cr.

4 cr.

0 cr.

Selection of thesis topic; research techniques; compilation of preliminary bibliography for master's thesis. 4 cr.

Prereq: CFA MU 601 or equivalent. First semester: speculative studies in tonal music; investigations into unique and general problems of musical structure, materials, organization, and aesthetics. Second semester: parallel studies in twentieth-century areas. 3 cr. 3 cr.

This course description is currently under construction. 4 cr.

4 cr.

Prereq: graduate standing in the University as a music major, corresponding 700-level courses in period music histories, or approval of instructor. Special problems in history and analysis of music. Individual research projects, special assignments, and class research projects as directed by instructor. 3 cr. 3 cr.

Close study of specifically defined areas in the forefront of musicological research. Individual research papers and class research projects as assigned by the instructor. 3 cr. 3 cr.

4 cr.

Principles of mensural notation used in polyphonic ensemble music from the thirteenth through the sixteenth centuries. Practice in transcribing examples into modern notation. Transcription of lute and keyboard tablatures. 3 cr each, 1st and 2nd semester. 3 cr.

Principles of mensural notation used in polyphonic ensemble music from the thirteenth through the sixteenth centuries. Practice in transcribing examples into modern notation. Transcription of lute and keyboard tablatures, and history and principles of earlier notational systems. 3 cr.

Specialized, individually tailored and guided work on projects not connected with a thesis or dissertation, but of particular interest to the graduate student. This course may substitute for a period seminar in the musicology concentrator's program of study. 3 cr.

Var cr.

From ancient Greece to A.D. 1600. Emphasis on modal theory, theory of counterpoint, and tuning and temperament. Readings from the original sources. 3 cr. 3 cr.

From A.D. 1600 to the present. Emphasis on theories of thorough bass, harmony, tonality, form, rhythm, and contemporary practice. Readings from the original sources. 3 cr. 3 cr.

Outline of proposed study must be submitted in advance of registration. May be repeated to a maximum of 6 credits. Graduate students only. Var cr.

Music history and pedagogy, correlation of philosophies in music and education, development of attitudes and method-ology, U.S. and European antecedents. 4 cr.

Philosophies and objectives of music in public education; scope and sequence of curriculum appropriate for general choral and instrumental instruction. 4 cr.

Required of all master's candidates who plan to do a thesis. Survey of literature and research in music education; formulation in bibliography; intensive and extensive study in one area by each student, culminating in a project using research technique. May be repeated for credit with consent of instructor. 4 cr.

Nature and scope of supervision; relationships, procedures, techniques; organization and improvement of curriculum; administration; development of evaluative criteria. 4 cr.

Potentials of trends and practices based on changing objectives, content, processes, and evaluation in music education; study of experimental and innovative programs. 4 cr.

Scope and sequence development of specific college courses in music, preparation and exchange of course syllabi, discussion of evaluation criteria used in subject matter and skill courses, and laboratory work in specific areas of college curriculum. May be repeated for credit. 4 cr.

Historical and psychological development of music offerings at the college level; comparative analysis of curricula in the major divisions of music; relationship of music to general education, professional fields, and other subjects. 4 cr.

Historical development of music teaching in higher education, administrative policies, faculty organization, and teacher load; academic and musical standards, student relations, equipment standards, physical environment, and community relations and functional programs. 4 cr.

Supervised experience in administration and supervision of music programs in the public schools; minimum of 150 clock hours; individual conferences with University supervisor. 4 cr.

Survey of the psychological impact of music on human behavior. Designed to provide the student with a comprehensive overview of the physical, psychological, and scientific bases of musical phenomena. 4 cr.

Development of and arguments on musical meaning as it relates to the continued study of the perception of musical phenomena, musical ability, and learning in the cognitive, affective, and psychomotor domains. 4 cr.

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.

Continuation of String Pedagogy I and II, including study of additional methods, approaches and resources, and evaluation of hands on teaching experience. 2 cr.

Continuation of String Pedagogy I, II, and III including study of additional methods, approaches and resources, and evaluation of hands on teaching experience. 2 cr.

An independent study for graduate performance majors-individually tailored work in a specific area or special project not connected with a thesis or dissertation, but o