Performance Music
Music Options: Music Education | Music - Performance | Jazz Studies
General Graduation
Requirements (45 quarter hours)
ENG 105, 125, 225; MTH 165; 1 credit hour from FYS 101, 102, or 103;
HPR 200; 1 quarter hour from HPR 101 117; HIS 101; 6 quarter hours from
HIS 111, 112, or 113; 5 quarter hours in Social and Behavioral Science
classes; 4 quarter hours from Natural and Physical Science classes.
Music Requirements (126 quarter hours):
MUS 101,102,103, 201, 202, 203, 230, 241, 242 (vocal Majors), 243 (Instrumental
Majors), 341, 386, 387, 388, 389;
Principal Applied
Courses ( 40 quarter hours ):
10 quarter hours in junior and senior recital and research (MUS 496
and 497), 16 quarter hours in ensembles, 6 quarter hours in piano class
(Vocal and Instrumental Majors), 6 quarter hours in secondary applied
courses or accompanying courses (Piano Majors), and 12 quarters of student
recital (MUS 100). Twenty quarter hours of unrestricted electives.
Principal Applied Courses
MUS 496. Senior Recital (I, II, III) Enrollment is concurrent with MUS 472 for the BME program,
Twenty quarter hours of unrestricted electives.
Course Descriptions
MUS 100. Student Recital (I, II, III; 0) Music majors must attend this class and perform on their principal instrument once each quarter. Students attend concerts, lectures, theater productions, art exhibitions, master classes, etc.
MUS 101, 102, and 103. Theory (I, II, III; 3, 3, 3) The objective of this course sequence is for students to become literate in the language of music (and perhaps one or two of its diverse dialects or styles). Students learn the basics of music theory (such as notation, intervals, scales, chords, time classifications, time signatures, etc.) and begin to develop aural organizational skills through sight singing, dictation,and improvisational exercises. The Western European com-positional practice of the years 1600-1830 is studied through analysis of musical examples at the phrase level (cadences, phrase members, motives, period structure, etc) and by writing melodies, voice leading exercises (including species coun-terpoint exercises adapted to this period), and other short compositions that explore and demonstrate an understanding of the contrapuntal and harmonic practice from that period. These skills and concepts are generalized and adapted to the study of other related musical dialects of other cultures and time periods: i.e., "Dixieland" and other early jazz and im-provisatory styles; and African, African-American, and European traditional and popular music styles of the twentieth century.
MUS 201, 202 and 203. Theory (I, II, III; 3, 3, 3) The objective of this course sequence is the further development of a student's musical literacy. Students continue the study of the basics of music theory to increase their skill, speed, and mastery. Aural organizational skills are further developed through sight singing, dictation, and improvisational exercises that include chromaticism, chromatic harmony, modulation (to closely and distantly related keys), and atonality. The Western European compositional practices of the years 1800 through the early twentieth century are studied through the analysis (labeling of melodic and harmonic structures, modulations, etc.; and analysis of contrapuntal/harmonic structures and forms) of representative compositions. Students write melodies, voice leading exercises (including counterpoint), and other short compositions to explore and demonstrate an understanding of the contrapuntal and harmonic practice of the above-mentioned period. These skills and concepts are generalized and adapted to the study of other related musical dialects of other cultures and time periods: i.e., Jazz from 1940-1970, and African and African-American traditional and popular music traditions.
MUS 230. Counterpoint (I; 3) The art of combining melodies on the style of the 16th century model counterpoint in two and three parts culminating in motets. Prerequisite: MUS 203.
MUS 241. Conducting: Fundamentals and Practice (I; 2) The introduction and study of score reading and of fundamental conducting techniques: basic beat patterns, baton techniques, cueing entrances, up beats, independence of the hands, instrument and voice ranges, clef reading, trans-positions, etc. The student will develop a clear and concise conducting technique and will begin to study the com-munication of musical expression through eye contact and appropriate hand gestures.
MUS 242. Conducting (vocal Majors): Choral (II; 2) (Choral-General Track) The student continues the development of conducting, rehearsal, and score preparation techniques. The primary emphasis is the study, analysis and preparation for performance of choral literature, but some literature for chorus and orchestra, or chorus and wind ensemble will be included. Leadership skills and dispositions are discussed and developed that would be appropriate for working with secondary, college, and professional ensembles.
MUS 243. Conducting (Instrumental Majors): Instrumental (II; 2) (Instrumental Track) The student continues the development of conducting, rehearsal and score preparation skills and techniques. Wind ensemble, band, choral, and orchestral literature is studied, analyzed, and prepared for performance. Leadership skills and dispositions are discussed and developed that would be appropriate for working with elementary, secondary, college, and professional ensembles.
MUS 341. Form and Analysis (I; 3) Students develop and demonstrate labeling and analytical techniques that are appropriate for the study of the disparate contrapuntal and harmonic structures found in four periods of Western music: baroque, classical, romantic, and twentieth century. The analytical techniques are adapted to the study of a repre-sentative sample of the music of other cultures and adapted to the study of a representative sample of Western music before 1600. Students will write critical analyses of several extended compositions.
MUS 386. Area Studies in Ethnomusicolgy (with emphasis on African-American music) (I, II, III; 3) A socio-anthropological study of African-American music in the diaspora and the resulting genres, styles, and forms of musical expression that developed from the synthesis of African and Western musical traditions. The course begins with fundamental ethnomusicology theory and methodology as applied to the study of non-Western music.
MUS 387. Music History I (I; 3) This course traces the beginnings of music in antiquity through developments of medieval monophony and polyphony and into Burgundian and Renaissance techniques and composers.
MUS 388. Music History II (II; 3) This course begins with the influence of the reformation on music and traces the development of the Baroque era (in both instrumental and vocal music) and the rise of the classical era.
MUS 389. Musical History III (III; 3) This course continues the study of the history of music, beginning with the composers of the first Viennese School and continuing through Romanticism into the modern era (including twentieth century composers and techniques).
